Smallville Episode X04 Storm
by Backward Galaxy
Summary: Episode 4 of 10 of a series of Smallville fan scripts. In this episode, a group of three mysterious individuals hunt Clark's friends.


SMALLVILLE  
Episode 04  
  
"Storm"  
  
EXT. WESTMORLAND FOOD DISTRIBUTORS - NIGHT  
  
A full moon rises above the headquarters of Westmorland Food Distributors as several hundred people virtually surround the people from all sides. Policemen have setup various barricades to hold the angry mob back, but it is clear that if it were so inclined to do so, the group of protestors could easily storm through them.  
  
Several people carry signs of protest, the most harsh of which equating Westmorland Food Distributors to the devil incarnate. The sirens on the police cars are almost completely drowned out by the angry screams of the mob.  
  
Off to the side, a police sheriff reaches into his patrol car and grabs the radio. Covering his ear with his other hand, he talks into the radio.  
  
SHERIFF HUTCHINSON  
  
Yeah?!  
  
Static crackles briefly over the radio before an officer at the station house replies.  
  
STATION HOUSE  
  
::over radio:: State patrol units are on their way, Sheriff, but that's a negative on the National Guard.  
  
SHERIFF HUTCHINSON  
  
What are a couple of thruway traffic cops supposed to do for me? We're not giving these people tickets for crying out loud! We're outnumbered here. If this thing turns violent, we're gonna lose control.  
  
A long pause over the radio. Sheriff Hutchinson shakes his head in frustration.  
  
SHERIFF HUTCHINSON  
  
Look, just get me everyone you can. Call Missouri if you have to, just get me some people.  
  
Sheriff Hutchinson puts the radio back and slams the door to the patrol car shut. He shakes his head and looks to another officer nearby, motioning for the young woman to come towards him.  
  
The crowd noise in overwhelming and the sheriff has to lean in close to the officer as she approaches.  
  
OFFICER  
  
Sir?  
  
SHERIFF HUTCHINSON  
  
The minute this starts getting out of hand, I want to fallback to the entrance. No one gets inside. Do you understand?  
  
OFFICER  
  
Yes, sir.  
  
SHERIFF HUTCHINSON  
  
Spread the word.  
  
The sheriff gives her a helping hand, gently pushing her towards the first in a long row of officers patrolling the barricade. He huffs loudly, again shaking his head angrily.  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - CONFERENCE ROOM  
  
The shadows of the moonlight paint light and dark stripes across an Jon Westmorland's Armani suit as he peers through the blinds at the crowd below. He looks extremely tired, big dark circles under his eyes, and he rubs them with his hands.  
  
The old man sighs as he turns away from the window, incapable of staring out on the crowd any longer. Slowly, he makes his way to the head of a long wooden table where several well-dressed suits are already seated. Judging by their demeanor, they are probably lawyers, and no less dismayed over the current situation than Westmorland himself.  
  
Westmorland sits himself down at the head of the table and takes a brief glance around the room.  
  
JON WESTMORLAND  
  
So, what kind damage are we looking at here?  
  
The lawyers look at each other hesitantly, neither wanting the responsibility of reporting back to the head of the company. Finally, Nathan Cherkasky, a frail but young man seated near Westmorland speaks up.  
  
CHERKASKY  
  
I think that to assume anything less than a complete loss would be somewhat unreasonable, at this point. I would recommend absolute and complete disclosure. Anything less would be viewed as a cover up and that's the last thing we want right now.  
  
Westmorland nods, running a hand over his head and through his fine silver hair.  
  
JON WESTMORLAND  
  
Where do we go from here?  
  
CHERKASKY  
  
We're looking at financial devastation, charges of corruption and severe negligence. If we pool our efforts and cooperate fully, we may be able to avoid jail time.  
  
JON WESTMORLAND  
  
What about my children?  
  
Another lawyer, this time a woman Naomi Anderton, chimes in.  
  
ANDERTON  
  
Seeing as Steven is only the head of the marketing division, I don't foresee any direct responsibility claims. Renara, as you know, has been somewhat detached from the company from the very beginning so she won't have any direct claims against her either.  
  
JON WESTMORLAND  
  
But the family will be bankrupt.  
  
Anderton doesn't reply, merely licks her lips and leans back in her chair, as if fleeing the question.  
  
CHERKASKY  
  
They'll be left with nothing.  
  
JON WESTMORLAND  
  
No. That is unacceptable. I want you to do everything and anything you can to make sure that doesn't happen. They are your number one priority right now.  
  
CHERKASKY  
  
With respect, sir, I don't think...  
  
JON WESTMORLAND  
  
I've paid you an awful lot of money over the years, Nathan, now it's time to prove you were worth it. I don't care if it means jail time for me. I'm an old man. There must be something left for my children when I'm gone.  
  
Cherkasky goes to say something but merely shakes his head and takes a deep breath. The old man is insistent, and he knows that.  
  
Accepting the silence, Westmorland leans back in his chair tiredly and raises his hand.  
  
JON WESTMORLAND  
  
Now, go home. It's been a long day and they are only going to get longer from here on out. I recommend going out the back.  
  
Gradually, the small group of lawyers gather their things and make their way out the door, leaving Westmorland the only person in the room.  
  
After a few seconds of sitting in silent contemplation, Westmorland stands and makes his way back over to the window for another look at the crowd below. He then turns and walks towards another door located on the opposite side of the room, making his way into an adjacent office.  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - WESTMORLAND'S OFFICE  
  
Jon Westmorland slowly walks into his office, shutting the door behind him. He makes his way over to his desk and sits down, turning in the chair so that he can see out the large window that makes up the far wall.  
  
Clearly depressed, Westmorland pours himself a drink from a bottle on his table. The bottle is already half empty and the top hadn't even been put back from the last drink he'd taken from it.  
  
He takes a sip, then holds the glass close to his chest, resting his head against the back of the chair. Carefully, he turns the liquid in the glass by moving his wrist ever so slightly, creating a small whirlpool inside the glass.  
  
He downs the rest of the drink in a single swallow and places the glass down on the desk. Slowly, he moves his hand towards the desk drawer, wrapping his bony fingers around the gold handle. Pulling the drawer out, he spies the black handle of a gun illuminated by a single strand of moonlight passing through the blinds. A single tear runs out of the corner of his eye and down his cheek, momentarily settling at the tip of his chin before dropping into nothing.  
  
There is a subtle knock at the door and he looks up. He doesn't bother to close the drawer.  
  
JON WESTMORLAND  
  
Yes?  
  
The knob turns and the door and slowly swings itself open, just barely bumping into the rubber cushion embedded into the wall. Strangely, no one enters the office.  
  
Westmorland peels his head from the head rest of the chair, slightly confused and agitated.  
  
JON WESTMORLAND  
  
Who's there?  
  
Voices can be heard in the distance, whispers.  
  
Jon starts to stand, preparing to see who it is for himself, when a man steps through the door.  
  
He's tall, a little over six feet, and has flowing brown hair and dark, brooding, eyes. He is also impressively built which is only accentuated by the dark trench coat that hangs over his shoulders.  
  
Westmorland, not recognizing the man, appears somewhat worried and hesitates to grab for his gun.  
  
WESTMORLAND  
  
Who are you?  
  
Surprisingly, the man has almost entirely ignored Westmorland up to this point, carefully surveying the room. Now, though, he turns to Westmorland and shakes his head, turning it once to the right and once to the left.  
  
Westmorland goes to say something else when another, incredible massive, man steps in through the doorway, ducking a good foot to avoid hitting his head. This brute is nothing short of a beast with an incredibly thick neck and a rigid jaw line. He has very pale skin and no hair to speak of and also adorns a similar trench coat.  
  
Clearly intimidated by this brute, Westmorland retreats backwards, tripping and falling back into his chair. Finally, a woman enters into the room after the brute. She is strikingly beautiful with long dark hair that goes down to her waist in the tightest of braids. Unlike her male counterparts, she is wearing an almost skin tight woman's suit with the jacket closed. Surprisingly enough, despite her rather minute stature, she is probably the scariest looking of the three.  
  
The two men take up position behind the woman, standing at the ready as if in anticipation of a fight of some kind. Meanwhile, she walks carefully up to the desk, staring directly into Westmorland's eyes.  
  
Placing her hands on the desk, she leans over the desk to come face to face with Westmorland. She looks at him for a second, then brings one of her hands up, placing her index finger to her lips.  
  
WOMAN  
  
::long and quietly:: Shhh.  
  
Westmorland appears scared, but paralyzed.  
  
WOMAN  
  
Quiet.  
  
EXT. WESTMORLAND FOOD DISTRIBUTORS - NIGHT  
  
Sheriff Hutchinson and two other police officers try desperately to push back a group of angry protestors to keep them behind the barriers.  
  
PROTESTOR I  
  
No, you can't keep us back. We want answers and we want them now!  
  
SHERIFF HUTCHINSON  
  
Just stay back! This is still private property. You keep yourselves in order or I'll do it for you by arresting the lot of you.  
  
Realizing the sheriff may have bitten off more than he can chew, the female officer from before worriedly looks up at him and then back at the protestors. The officers are extremely undermanned and under equipped and are just about to lose control of the situation when.  
  
Gunshots ring out bursting holes through a glass window on one of the upper floors of the building. The crowd goes silent for a moment then goes into a complete frenzy as people flee from the building.  
  
Another, final, gunshot rings out and shatters the window from the upper floor, sending tiny pieces of glass raining down the edge of the building. Sheriff Hutchinson quickly withdraws his gun and begins running towards the entrance, motioning for several other officers to follow him in.  
  
SHERIFF HUTCHINSON  
  
Shots fired! Shots fired! Move! Move! Move! Seal off all exits!  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - STAIRWELL  
  
Several officers, led by Sheriff Hutchinson, run up the stairs to the top floor of the building, weapons drawn and pointed down. At each floor, the sheriff motions for several officers to break off and head into the main halls.  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - HALLWAY  
  
Sheriff Hutchinson and the remaining officers make it to the top floor and burst through the stairwell door, guns at the ready. Quickly, they survey the area and move towards an open door halfway down the hall. It is the entrance to the conference room.  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - CONFERENCE ROOM  
  
Sheriff Hutchinson moves into the conference room first and looks around. Another few officers move in behind him, while others take up position outside the room. The door to Westmorland's office closes shut off to the side, drawing the sheriff's attention.  
  
SHERIFF HUTCHINSON  
  
This is the police! Come out with your hands raised!  
  
A pause.  
  
SHERIFF HUTCHINSON  
  
I repeat, this is the police! Come out with your hands raised, now!  
  
Another long pause.  
  
Sheriff Hutchinson shakes his head and motions for his remaining officers to head towards the door. They do so, and two officers take up position on either side, while another right in front. The sheriff, meanwhile, takes up position behind the kneeling officer in front.  
  
SHERIFF HUTCHINSON  
  
Open it.  
  
The kneeling officer moves quickly towards the door and grabs the knob, throwing the door open and backing away, his gun still drawn.  
  
SHERIFF HUTCHINSON  
  
In. now!  
  
The officer in front of the sheriff moves in, followed closely behind by Sheriff Hutchinson.  
  
INT. WESTMORLAND FOOD DISTRIBUTORS - WESTMORLAND'S OFFICE  
  
Sheriff Hutchinson darts into the office and quickly run his gun over his plane of view, surveying the entire room. To his surprise, he sees nothing out of the ordinary except for the shattered glass and the desk chair turned towards the broken window.  
  
Satisfied that the person he's after must be in the chair, Hutchinson calls out to it.  
  
SHERIFF HUTCHINSON  
  
Turn around, hands where I can see them!  
  
No answer.  
  
SHERIFF HUTCHINSON  
  
Now!  
  
Still receiving no answer, Sheriff Hutchinson cautiously makes his way towards the chair, walking around the desk.  
  
SHERIFF HUTCHINSON  
  
I said, hands where I can see them!  
  
The sheriff points the gun directly at the person in the chair, but is surprised by what he finds.  
  
Jon Westmorland sits lifelessly in the desk chair, several bullet wounds bleeding from his chest. Hutchinson can only curse under his breath and kick the desk in frustration.  
  
EXT. SMALLVILLE HIGH SCHOOL - DAY  
  
Smallville High School is a bustling hub of activity, but not as one might expect. Most of the students are being accompanied by their parents, several groups moving away from the school while most make their way inside.  
  
INT. SMALLVILLE HIGH SCHOOL - GYMNASIUM  
  
The Smallville High School gymnasium is where most of the students and parents have congregated. The entire gym has been converted into almost a makeshift triage center where Doctors Hackman and Beatty supervise blood testing and treatment to the students.  
  
There are several table setup and, undoubtedly due to understaffing, several familiar faces sit at various tables to help out with the organization of the treatments. Among these volunteers are Mr. and Mrs. Kent, who are seated at the check-in table just inside the main doors.  
  
A young teenage girl sits in between her parents on some foldout chairs near the bleachers. She is crying and her parents are doing their best to console her. As Clark Kent walks passed them, they look up, merely staring at him. He smiles, doing his best not to appear uncomfortable, but it's too late for that. He continues on his way.  
  
As Clark makes his way through the crowds, several students greet him along the way.  
  
HENRY  
  
Hey, Clark, how's it goin?  
  
LISA  
  
Great to see you're feeling better, Clark.  
  
BRADLEY  
  
Hey, Clark!  
  
Clark does his best not to fall into any conversations with them, smiling politely as he continues to make his way towards his parents. Dr. Hackman, meanwhile, spots Clark out of the corner of his eye and looks up, taking a good long look at Clark as he walks.  
  
CLARK  
  
Mom.  
  
Clark bends down to get his mother's attention. Several sets of parents and students who are waiting in line watch him closely, eyeing his every move. Noticing this, Clark looks up, at which point they all immediately turn away. He rolls his eyes at the absurdity of it all.  
  
MARTHA  
  
Yes, Clark?  
  
CLARK  
  
Have Pete, Lana, or Chloe shown up yet?  
  
Martha shakes her head, then looks at her clipboard. Jonathan continues checking people in.  
  
MARTHA  
  
No, they haven't. They'd better hurry up, too, or they'll miss their lot.  
  
Clark looks around, confused, but is relieved when he sees Pete making his way to the front of the line. He stands up and waits for Pete to make it to the table.  
  
CLARK  
  
Hey, Pete.  
  
Pete lifts up his hand and smiles, the two friends touching fists. Pete winces and brings his hand back, as if he's in pain.  
  
PETE  
  
Whoa, man, getting stronger every day.  
  
Clark laughs as the people in front of Pete check in.  
  
CLARK  
  
Hey, have you seen Lana or Chloe?  
  
PETE  
  
Can't say that I have, but I think Chloe was picking up her car today, so that might be why she's late.  
  
Pete moves to the front of the line and Martha checks him in.  
  
MARTHA  
  
Hey, where's you're mother, Pete?  
  
PETE  
  
Judge Ross was actually called into court today. They're apparently getting flooded with all sorts of lawsuits and criminal charges down at the court house. ::shrugs:: Duty calls.  
  
MARTHA  
  
Still, I can't believe she let you go through this alone.  
  
PETE  
  
I'm not alone. I got you guys.  
  
Pete smiles as Martha hands him a sheet of paper. All three Kents look up, surprised by Pete's statement.  
  
PETE  
  
Besides, I feel great. I don't eat a lot of caf. food anyway.  
  
Pete leans in and lowers his voice to a whisper.  
  
PETE  
  
Soybeans give me gas.  
  
Clark and Pete laugh and, surprisingly, so does Jonathan. Martha looks somewhat appalled and gives her husband an odd look.  
  
JONATHAN  
  
What? It was funny.  
  
Pete takes the piece of paper and walks around the table with Clark.  
  
PETE  
  
So, how's this work anyway?  
  
CLARK  
  
Well, first you have to get your blood tested at one of the tables on the right. They screen it to check how much, if any, you have in your system.  
  
PETE  
  
Okay.  
  
CLARK  
  
Now, it's based off a count. Don't ask me what that means, because I don't know. Anything under a one hundred count and you're pretty much okay, but anything higher than a one hundred count and you have to move over to one of those tables on the other side of the gym.  
  
Clark points to the table on the other side of the gym where Doctor Hackman is administering some of the green serum into a girl's arm while her parents watch.  
  
PETE  
  
What are those for?  
  
Clark shrugs and sighs a bit.  
  
CLARK  
  
That's where they inject you with the antidote.  
  
PETE  
  
You mean the one that doesn't work?  
  
CLARK  
  
Well, we don't really know.  
  
PETE  
  
I thought you said it was the sun that healed you?  
  
CLARK  
  
::lowers his voice:: It was, but the doctors developed the antidote under the assumption they were administering it to a human. Just because it didn't work on me, doesn't mean it won't work on you.  
  
Pete nods, humoring his friend.  
  
PETE  
  
I got ya.  
  
As Clark escorts his friend over to one of the testing tables, several students and parents smile and greet him along the way. Pete notices this and nudges his friend with his shoulder.  
  
PETE  
  
Hey, you're something of a superstar, huh?  
  
Clark looks around, uneasily smiling at people as he walks by them.  
  
CLARK  
  
. The most popular kid in school.  
  
PETE  
  
Well, there's a first.  
  
CLARK  
  
Tell me about it. It's kind've freaking me out really, all the attention. Everyone keeps looking at me like I'm something special.  
  
PETE  
  
You are, Clark.  
  
Clark stops and looks at Pete, confused.  
  
PETE  
  
You're the guy who got sick with this thing and got better. Look around, Clark. There are a lot of scared people in here. But when they see you, they have hope.  
  
CLARK  
  
But it's not real.  
  
PETE  
  
It is to them.  
  
The bustle continues around them for another few seconds when, finally, Pete motions towards one of the testing tables.  
  
PETE  
  
Looks like my spot's coming up. You coming?  
  
CLARK  
  
I think I'm gonna go wait outside for Chloe and Lana. maybe go for a walk.  
  
PETE  
  
K, man, I'll see ya in a bit.  
  
Pete makes his way to the table and Clark turns and heads for a side exit of the gymnasium, walking by Dr. Hackman and Dr. Beatty as he does.  
  
Dr. Hackman steps over to Dr. Beatty and puts his hand on the man's arm.  
  
HACKMAN  
  
We have to talk to that kid.  
  
Dr. Beatty merely nods.  
  
EXT. SMALLVILLE HIGH SCHOOL - DAY  
  
Clark heads out of one of the side doors to the gym, and takes a fresh breath of the air. He looks up at the sun, shading his eyes from directly staring into it, and he seems to relax as he does so.  
  
Clark goes to put his hand through his hair, only to realize there's nothing there to put his hand through. He looks at his hand in mock frustration then places both hands inside his jacket pockets.  
  
He begins walking, looking down at his feet as he walks.  
  
EXT. SMALLVILEL HIGH SCHOOL FOOTBALL FIELD - DAY  
  
Clark makes his way to the football field, for no apparent reason, looking out over the field from the bleachers. He carefully takes a few steps down the then slides into one of the bleacher seat, taking a seat in the precise middle.  
  
Looking out onto the field, Clark silently contemplates his situation to himself, enjoying the peace and quiet of his surroundings. He becomes distracted, though, when he turns and sees someone sitting at the very bottom of the bleachers. It's Lana.  
  
Curious, Clark stands and begins making his way down the steps to the row of bleachers where Lana sits. She sits there quietly, despite hearing him approach.  
  
CLARK  
  
Lana?  
  
Pretending as if she didn't know he was there, Lana turns and smiles.  
  
LANA  
  
Clark, hi.  
  
CLARK  
  
What are you doing out here? Shouldn't you be in the gym?  
  
She shrugs as Clark takes a seat next to her.  
  
LANA  
  
I just needed some time to think before I went in. There's just so much going on right now. I just needed to get my bearings straight, ya know?  
  
CLARK  
  
Yeah.  
  
LANA  
  
I used to come out here a lot actually. just to think. When I was a cheerleader, this was kind've my home away from home anyway. It still amazes me how a place can be so loud some of the time, and so quiet other times.  
  
Lana smiles and touches the bleacher on either side of her.  
  
LANA  
  
I guess you could say this was my loft.  
  
CLARK  
  
It's okay to be scared, Lana.  
  
LANA  
  
I'm not scared. Why should I be scared? Look at you, you turned out fine.  
  
Clark nods and diverts his eyes, trying to keep her from seeing the truth behind his eyes.  
  
LANA  
  
I'm just a little overwhelmed, ya know? As crazy as it sounds, I miss being a bubbleheaded cheerleader. All I had to worry about then was kicking high, smiling wide, and looking cute in a skirt and a sweater. Everything's just gotten so complicated.  
  
Clark, for some unknown reason, actually laughs. Lana doesn't appear to know why.  
  
CLARK  
  
Little people, little problems.  
  
LANA  
  
::smiling:: What?  
  
CLARK  
  
Something my mother always says. When you're little, you have little problems. When you get bigger. older. you get big problems.  
  
LANA  
  
She wasn't kidding.  
  
CLARK  
  
No, she wasn't.  
  
Clark pauses for a moment, looking carefully into Lana's eyes.  
  
CLARK  
  
But she also says that if everyone in the world took their "problems" and put them down on a big table, and had to pick up one person's "problems", they'd always pick their own back up.  
  
LANA  
  
::skeptical:: You really believe that, Clark?  
  
Clark thinks for a minute, then nods.  
  
CLARK  
  
Yeah, I think I do.  
  
LANA  
  
Yeah, well, just the same I think I'd rather just put them down on the table and run like hell.  
  
They share a laugh.  
  
LANA  
  
I should probably go get this over with, huh?  
  
CLARK  
  
Probably.  
  
Unexpectedly, to Clark's surprise, Lana reaches over and takes his hand.  
  
LANA  
  
Go with me?  
  
Clark swallows as their eyes meet. He tightens his hand around hers.  
  
CLARK  
  
Of course.  
  
Together, hand in hand, they stand and walk up the stairs towards the gymnasium.  
  
EXT. SMALLVILLE AUTO BODY - DAY  
  
Gabe Sullivan smiles and kisses his daughter, Chloe, on the cheek outside the Smallville Auto Body.  
  
GABE SULLIVAN  
  
I'll meet you at the school, all right?  
  
CHLOE  
  
I'll be right behind you.  
  
GABE SULLIVAN  
  
Okay.  
  
Gabe Sullivan gets into his car and smiles at his baby girl, then starts the engine.  
  
Chloe turns and walks over to her car, which is parked just outside one of the main garages. She grabs a hold of her purse and opens it up as a rather handsome looking young mechanic steps out of the garage.  
  
She hands him a couple of bucks.  
  
CHLOE  
  
::flirting:: That's for you Charlie.  
  
The mechanic accepts the cash and smiles at her. As he walks off, Chloe blatantly stares at him from behind. It's clear what she's staring at. She seems quite pleased with it as well, before opening the door to her car and getting in.  
  
She buckles up and the starts the engine.  
  
INT. GABE SULLIVAN'S CAR  
  
Gabe Sullivan looks in the rear view mirror and sees Chloe give him the thumbs up. He waves his hand outside the window and starts to drive off.  
  
EXT. SMALLVILLE ROADWAY - DAY  
  
Gabe Sullivan drives down a two lane road in route to the High School with Chloe following not far behind him.  
  
INT. GABE SULLIVAN'S CAR  
  
A traffic light up ahead turns red, prompting Gabe Sullivan to hit the brakes.  
  
INT. CHLOE'S CAR  
  
Chloe sees the red light, and her father's brake lights, and hits the brake pedal with her foot. The car, however, doesn't slow down.  
  
Worried, Chloe presses the brake pedal again and again, frantically trying to stop the car.  
  
INT. GABE SULLIVAN'S CAR  
  
In his rear view mirror, Gabe Sullivan sees his daughter's car approaching extremely quickly from behind. Clearly frightened, he turns in his seat to look out the back, helpless to do anything to help his daughter.  
  
EXT. SMALLVILLE ROADWAY - DAY  
  
Unable to stop, Chloe's car crashes into the back of her father's car, rear ending it and pushing it into the intersection. Another car, crossing through the intersection in the perpendicular direction, rams into the side of Gabe Sullivan's car in an awesome collision, sending it off the roadway.  
  
Both Gabe and Chloe Sullivan sit unconscious in the front seats of their respective vehicles.  
  
INT. SMALLVILLE HOSPITAL - TESTING ROOM  
  
Lex Luthor rolls his eyes and clenches his jaw tightly. He sits in a hospital bed, his shirt off, with several monitoring devices attached to his chest and head. The lovely Doctor Bryce stands nearby, carefully examining several computer screens equipped to gather information from the devices. She jots something down on the clipboard.  
  
LEX  
  
How much longer is this going to take?  
  
BRYCE  
  
Patience is a virtue, Lex.  
  
LEX  
  
Nice cliché, I have another one for you. Time is money.  
  
Bryce smiles and shakes her head.  
  
BRYCE  
  
You sound more and more like your old man every day, you know that?  
  
LEX  
  
Insulting me in my vulnerable condition? I thought you doctors were supposed to have a good bedside manner.  
  
BRYCE  
  
I thought you millionaires could afford better doctors.  
  
LEX  
  
I have the utmost confidence in your abilities, Helen. It's these machines I don't trust.  
  
Lex turns and taps one of the monitors. Quickly, Dr. Bryce hits his hand with the clipboard she's holding and he pulls back.  
  
BRYCE  
  
Don't touch.  
  
LEX  
  
::pretending to be in pain:: That hurt.  
  
BRYCE  
  
Good. These machines are going to help save your life.  
  
LEX  
  
Why, Dr. Bryce, I didn't know you cared.  
  
BRYCE  
  
I care about all my patients.  
  
LEX  
  
Really? I was beginning to think this was all just a ploy to see me without my shirt on.  
  
Dr. Bryce puts her stethoscope to her ears and grasps the end, moving towards Lex.  
  
BRYCE  
  
Good to see your sense of humor is still in tact.  
  
Lex jumps slightly as she presses the stethoscope to his chest.  
  
LEX  
  
Ah!  
  
BRYCE  
  
Not to mention your ego.  
  
LEX  
  
That's cold.  
  
BRYCE  
  
I know.  
  
Apparently satisfied, Dr. Bryce removes the stethoscope hearing pieces from her ears and begins removing the monitors from Lex's head and chest.  
  
BRYCE  
  
::smirks:: I dipped it in ice before I came in.  
  
Lex gives her a dirty look as she finishes removing the monitors from his body. He then reaches for his shirt as she begins turning off the machines.  
  
LEX  
  
::putting on shirt:: So, what's the verdict? Am I dying?  
  
Dr. Bryce looks at the clipboard.  
  
BRYCE  
  
::bluntly:: Yes.  
  
LEX  
  
Good.  
  
Lex steps down off of the bed and starts heading for the door.  
  
LEX  
  
So, nothing's changed.  
  
Bryce steps in his way just as he goes to reach for the doorknob.  
  
BRYCE  
  
I'm not kidding, Lex. Your immune system is beginning to break down and no matter how many antibiotics and medications we put you on, it's never going to be a real replacement for the body's natural defense system.  
  
LEX  
  
What would you like me to do, Helen? You gave me injections of the antidote already. They didn't work.  
  
BRYCE  
  
I want you to talk to Clark.  
  
LEX  
  
Clark? About what?  
  
BRYCE  
  
He's your friend, isn't he?  
  
LEX  
  
Yeah, why?  
  
BRYCE  
  
Well, didn't he tell you?  
  
LEX  
  
Tell me what?  
  
BRYCE  
  
He never let the doctors examine him after being cured. He and his parents just up and left the hospital. There were never any follow ups.  
  
Lex appears generally confused.  
  
LEX  
  
Why would he just leave like that?  
  
BRYCE  
  
Like I said, he's your friend.  
  
Lex takes a couple of seconds to think, before Dr. Bryce moves out of his way. He opens the door to exit the testing room and steps out into the hallway.  
  
INT. SMALLVILLE HOSPITAL - HALLWAY  
  
Lex Luthor, followed closely behind by Dr. Helen Bryce, steps out of the testing room only to be nearly run over by several doctors pushing along two roller beds across the floor. Lex is shocked to see the familiar faces of the two individuals laid out on each bed.  
  
LEX  
  
Chloe!  
  
Lex quickly runs to catch up with the doctors moving the unconscious Chloe and Gabe Sullivan down the hall. Dr. Bryce follows him.  
  
LEX  
  
What happened?  
  
DOCTOR I  
  
Please, sir, if you could just step away.  
  
LEX  
  
I'm a friend of the family.  
  
DOCTOR II  
  
It was a car accident.  
  
LEX  
  
Are they going to be okay?  
  
The first doctor doesn't seem all together pleased that the second doctor went over his head and does his best to get in between Lex and Chloe's bed as they continue to roll it down the hall.  
  
DOCTOR I  
  
Please, you really need to stay here.  
  
The doctor, spotting Dr. Bryce, motions to her.  
  
DOCTOR I  
  
Helen, we could really use some help here.  
  
Lex is reluctant to stop, but Doctor Bryce grabs him by the arm as she passes him by.  
  
BRYCE  
  
I'll let you know.  
  
She goes off with the other doctors and they all disappear behind two large swinging doors with a big sign on them reading "Hospital Personnel Only".  
  
Lex swallows hard.  
  
INT. SMALLVILLE HIGH SCHOOL - GYMNASIUM  
  
Dr. Beatty handles a small sample of blood and places it under a microscope. He begins to examine it as Lana sits idly by, still holding Clark's hand, waiting for the results. Pete also waits in anticipation.  
  
BEATTY  
  
Well, Miss, I don't foresee any problems in your very near future.  
  
Beatty smiles as he looks up from the microscope.  
  
BEATTY  
  
Your count is forty-six, well below the danger level.  
  
Lana, slightly relieved, exhales.  
  
CLARK  
  
Forty-six is still a little high.  
  
BEATTY  
  
It's nothing to worry about. As long as she doesn't ingest any more of it, she should be perfectly fine.  
  
LANA  
  
Thank you very much, Doctor.  
  
BEATTY  
  
It's always a pleasure to be able give my patients good news, young lady. Now, if you'll excuse me.  
  
Dr. Beatty smiles and bows his head slightly, moving off to one of the other table.  
  
LANA  
  
Well, I'm glad that's out of the way.  
  
PETE  
  
Forty-two and forty-six, that's two out of two. We're on a roll, just one more to go.  
  
LANA  
  
Where is Chloe anyway?  
  
As soon as Lana mentions Chloe's name, Clark releases her hand. Lana notices, but says nothing.  
  
CLARK  
  
I haven't seen her. She should've been here by now.  
  
PETE  
  
They're probably just giving her a hard time at the auto body place. Besides, you know how her father can be when he has to pry open his wallet. He once spent twenty minutes arguing with the cashier at McDonalds over the price of a Big Mac.  
  
Clark doesn't appear particularly satisfied with the explanation, but accepts it for the time being.  
  
HACKMAN  
  
Clark.  
  
Dr. Hackman approaches Clark from behind.  
  
HACKMAN  
  
Can I talk to you for a second?  
  
CLARK  
  
::reluctant:: Uh, sure.  
  
Pete, taking the hint, walks over to Lana and motions for her to walk with him.  
  
PETE  
  
We'll go look for Chloe.  
  
Lana obliges and the two walk off. As they do, Pete's cell phone rings and he pulls it out of his pocket.  
  
HACKMAN  
  
Clark, I was wondering if you wouldn't mind coming by the hospital later; just a little follow-up exam to see how you're doing.  
  
Clark, caught off guard, desperately searches for a way out.  
  
CLARK  
  
But I feel fine.  
  
HACKMAN  
  
I know, but there's still a lot we don't know about this thing. It may come back or there may be some other type of long-term damage. It's a good precaution just to be sure.  
  
CLARK  
  
Well, I. I'll have to ask my parents if.  
  
Very suddenly, Pete and Lana rush up to Clark.  
  
LANA  
  
Clark, it's Chloe, she's been in an accident.  
  
CLARK  
  
What?  
  
PETE  
  
Lex just called me from the hospital.  
  
CLARK  
  
Are they going to be okay?  
  
PETE  
  
He doesn't know. The doctors wouldn't tell him. We're heading over there now.  
  
Pete and Lana run towards the gym doors.  
  
CLARK  
  
I'm sorry, Dr. Hackman, I have to go.  
  
Hackman seems upset, but doesn't object to Clark running off.  
  
Jonathan and Martha Kent are surprised to see Pete and Lana run passed them in such a hurry and quickly look back to find Clark.  
  
MARTHA  
  
Clark, what's going on?  
  
CLARK  
  
Chloe and her dad were in an accident. They're at the hospital.  
  
Martha immediately gets to her feet, practically flying out of her chair at the news.  
  
MARTHA  
  
Jonathan.  
  
JONATHAN  
  
Go, I'll get someone to cover.  
  
Martha and Clark head out of the gym.  
  
EXT. SMALLVILLE HOSPITAL - DAY  
  
Pete, Lana, Martha, and Clark get out of their respective cars and head for the main entrance to the Smallville Hospital.  
  
MARTHA  
  
You know, I'm really starting to get sick of this place.  
  
CLARK  
  
You and me both.  
  
INT. SMALLVILLE HOSPITAL - HALLWAY  
  
Pete, Lana, Martha, and Clark enter the hospital and immediately head down the hall where Lex Luthor stands talking to Dr. Bryce.  
  
CLARK  
  
Lex?  
  
MARTHA  
  
What's the news?  
  
BRYCE  
  
Chloe's going to be fine. She has a couple of broken ribs, but luckily the airbag and seatbelt seem to have done their jobs.  
  
A strong sense of relief filters down amongst the group.  
  
MARTHA  
  
What about her father?  
  
BRYCE  
  
Mr. Sullivan is a different story, I'm afraid. He suffered a severe concussion and several broken ribs. He broke his right leg in several places, as well as his right arm. He was also badly lacerated across his right side.  
  
MARTHA  
  
Oh my god.  
  
LANA  
  
Is he going to be okay?  
  
BRYCE  
  
Assuming there's no internal bleeding, he should recover, but he's going to be off his feet for a long time. He'll need some pretty intense physical therapy.  
  
MARTHA  
  
Is he in a lot of pain?  
  
BRYCE  
  
We have him sedated.  
  
LEX  
  
::to Dr. Bryce:: LuthorCorp will cover all the expenses. I want to make sure they both get the best medical attention possible.  
  
Dr. Bryce nods, assuring him that they will.  
  
CLARK  
  
Can we see, Chloe? Is she awake?  
  
BRYCE  
  
Actually, yes, she woke up a few minutes ago. She's been asking about her father.  
  
MARTHA  
  
What have you told her?  
  
BRYCE  
  
Nothing yet, I was just about to go in.  
  
MARTHA  
  
I should go in with you.  
  
BRYCE  
  
I was thinking the same.  
  
CLARK  
  
Can we go in too?  
  
BRYCE  
  
They are having her transferred over to the general floor now. I'll take you to her room.  
  
Dr. Bryce leads the small group down the hall.  
  
INT. SMALLVILLE HOSPITAL - CHLOE'S ROOM  
  
Chloe lays flat on the hospital bed in her room, staring straight up at the ceiling. There are a few stray cuts and bruises on her face, but nothing terribly serious looking. Her bottom lip is swollen and puffed out into quite the dismal frown.  
  
CHLOE  
  
::sad:: Is this the same room I was in last time?  
  
ORDERLY  
  
I wouldn't know. I wasn't here when you were here last time.  
  
CHLOE  
  
The ceiling looks the same.  
  
The orderly fluffs a few pillows and lifts up her torso so he can place them underneath her for support.  
  
ORDERLY  
  
There. That's a little better view anyway.  
  
Chloe turns as the door to her room opens and Dr. Bryce steps inside followed by Martha, Clark, Pete, Lex, and Lana. This, at least, brings a half smile to Chloe's face.  
  
CLARK  
  
Chloe.  
  
Except Dr. Bryce, they all rush to her side. The orderly leaves the room.  
  
Martha is surprisingly the first to Chloe's side and holds her hand.  
  
MARTHA  
  
Are you all right? How are you feeling?  
  
CHLOE  
  
Like I'm trapped in the movie Groundhog Day.  
  
PETE  
  
What happened?  
  
She shakes her head, her voice confined to a semi-whimper.  
  
CHLOE  
  
I don't even know. We were stopping at a traffic light and when I went to hit the brakes, nothing happened. The next thing I remember was the inside of my dad's trunk.  
  
Chloe, suddenly coming frantically to life, looks to Martha and then to Dr. Bryce.  
  
CHLOE  
  
My dad. My dad, is he okay? Nobody's told me anything and I hit him. Please tell me he's okay.  
  
Chloe, although wincing, ignores her pain and tries to sit up. Martha very calmly places her hands on each of Chloe's shoulders and presses her back down. Sitting herself on the edge of Chloe's hospital bed, Martha gently strokes Chloe's cheek.  
  
MARTHA  
  
Shh. It's all right. He's going to be okay.  
  
CHLOE  
  
But I hit him, and I.  
  
MARTHA  
  
It's all right, Chloe, he's okay. He has a concussion, and some broken bones, but he's alive and he's going to be fine.  
  
CHLOE  
  
Can I see him? I want to see him. I need to say I'm sorry.  
  
Again, Chloe struggles to get out of the bed, but Martha holds her down. The poor girl begins to cry, the guilt simply too much for her to control any longer.  
  
CHLOE  
  
::hysterical:: I need to see him.  
  
MARTHA  
  
The doctors are taking care of him, Chloe. There's nothing to worry about.  
  
Chloe, very simply, breaks down and lets herself cry. Martha leans in and hugs her, her own motherly instinct kicking in.  
  
CHLOE  
  
::crying:: I hate this place. I hate it. I want to go home. I just want to go home.  
  
Chloe's crying trickles down to the rest of the group, hitting Lana the hardest. Pete notices this and wraps his arm around Lana's shoulders. Lex and Dr. Bryce hang their heads, doing their best to disappear into the back wall of the room.  
  
Clark approaches Chloe's bedside and lays his hand down on his mother's back. Martha obligingly breaks away, yielding the job of comforting the poor girl to her son.  
  
CHLOE  
  
::crying:: Oh, Clark.  
  
Clark gently holds her in his arms.  
  
CLARK  
  
I know. I know.  
  
INT. SMALLVILLE HOSPITAL - HALLWAY  
  
Outside Chloe's room, a conspicuously familiar man looks in on them through the window. It is the same man who was first to enter Jon Westmorland's office just before the business mogul was killed. The only difference is, this time he is disguised to look like a doctor.  
  
A very serious expression is etched across the man's face as he looks in. After a few seconds of surveying the room, he turns and begins walking down the hall.  
  
EXT. SMALLVILLE HOSPITAL - DAY  
  
Still disguised as a doctor, the man from before exits the hospital from one of the side exits, quickly making his way towards a nearby parked car. He gets in from the passenger's side.  
  
Inside the car, the massively large brute takes up the entire backseat, while the woman sits in the driver's seat, her long braid slung over her left shoulder.  
  
MYSTERY MAN  
  
I wasn't able to get to her in time.  
  
MYSTERY WOMAN  
  
Someone got to her before you?  
  
MYSTERY MAN  
  
Not just anyone.  
  
Intrigued, the mystery woman raises an eyebrow.  
  
MYSTERY MAN  
  
It was him. and he wasn't alone.  
  
MYSTERY WOMAN  
  
How many?  
  
MYSTERY MAN  
  
There were at least five others in the room; three friends, a doctor, and. his mother.  
  
The mystery woman appears particularly concerned with this new information. The brute, for his part, merely groans under his breath.  
  
MYSTERY WOMAN  
  
This presents a problem.  
  
MYSTERY MAN  
  
It could be any one of them.  
  
The mystery woman thinks for a while longer, then starts the car.  
  
MYSTERY WOMAN  
  
Then we should be prepared to kill them all.  
  
She drives the car away.  
  
EXT. SMALLVILLE HOSPITAL - NIGHT  
  
Lana and Clark stand outside Pete's car, looking in, as Pete starts up the engine. He seems to be in a surprisingly good mood.  
  
PETE  
  
All right, I'll see you both here bright and early tomorrow morning. I'll bring the PS2. We'll get a little tournament going.  
  
Clark and Lana both laugh.  
  
CLARK  
  
More Madden?  
  
PETE  
  
Are you kidding? Chloe scored eight touchdowns on me last time we played and screamed "homerun" every time. I threw that game out.  
  
Clark and Lana laugh some more.  
  
PETE  
  
I'll see you guys.  
  
LANA  
  
See ya.  
  
CLARK  
  
See ya, Pete.  
  
Pete drives off, leaving Clark and Lana standing in the parking lot. Neither seems to know what to say and so they simply stand there for a couple of seconds, avoiding eye contact.  
  
Finally.  
  
LANA  
  
Well, I guess I'll head home.  
  
CLARK  
  
Alone?  
  
LANA  
  
I'm no stranger to going home to an empty house, Clark.  
  
Clark nods sheepishly.  
  
CLARK  
  
I'll walk you to your car.  
  
Clark, ever the gentleman, escorts Lana across the parking lot.  
  
LANA  
  
Your mother was really great in there, with Chloe.  
  
CLARK  
  
Yeah, I know. It's like as soon as she walked into the room, her maternal instinct went into overdrive or something.  
  
LANA  
  
You know, Chloe would never say this but she really misses not having a mother in her life.  
  
Clark and Lana arrive at Lana's car and she turns to face him  
  
LANA  
  
You have no idea how lucky you are, Clark.  
  
Clark smiles, a little bit of pride sneaking through.  
  
CLARK  
  
I think I have a pretty good idea.  
  
Clark notices Lana hesitate. He swallows, realizing the conversation is about to take a turn.  
  
LANA  
  
You know, Clark, I lied earlier at the bleachers. I was scared, but not for the reason you might think.  
  
She looks up at him, staring straight into his eyes.  
  
LANA  
  
I was scared because I didn't want to be alone. Chloe and Mr. Sullivan have been great but ever since Nell moved away, I haven't really had anyone really close that I could talk too, who would be there for me if something happened.  
  
CLARK  
  
Lana.  
  
She shakes her head once, stopping him.  
  
LANA  
  
I don't really have any family. I don't think you can really count Henry Small at this point. So, I started asking myself what would happen. What would happen if I was sick? Who would be there for me?  
  
CLARK  
  
You don't think Nell would be there for you?  
  
LANA  
  
She wasn't there was she?  
  
Clark diverts his eyes briefly, uncomfortable with the obvious answer.  
  
LANA  
  
But you were, Clark. You were there for me, just like you've always been when I really needed someone.  
  
She moves closer to him, staring deeply into his eyes.  
  
LANA  
  
And I realized that as long as there's a Clark Kent, I'll never be alone.  
  
Lana reaches out, placing her hand in his, and moves closer to him. She closes her eyes and tilts her head, inviting Clark to the kiss he has so painfully waited for since the first day he laid eyes on her.  
  
LEX  
  
Helen kicked you guys out too?  
  
The moment between them is broken as Lex approaches the two of them from behind. Seeing them retreat from each other, Lex smiles, realizing the extent of his interruption.  
  
LEX  
  
I'm sorry. I'm not interrupting anything, am I?  
  
Clark responds, quickly.  
  
CLARK  
  
No, I was just walking her to her car.  
  
Lex gives Lana's car a quick look and nods mockingly.  
  
LEX  
  
I'd say mission accomplished.  
  
Clark makes a face at Lex, covertly warning him off.  
  
LANA  
  
I should get going; have to be up bright and early. As it is, I'll probably only get a couple of hours.  
  
Lana opens the door to her car and gets in, pulling the keys from her coat pocket. Clark, maintaining his gentleman persona, closes the door for the lady as she puts the key to the ignition.  
  
LANA  
  
I'll see you tomorrow morning, Clark.  
  
CLARK  
  
::smiles:: Yeah.  
  
Directly in the path of Lana's car, Lex steps back. Clark does as well as Lana starts up the engine and puts the car in drive.  
  
LANA  
  
Bye, Clark.  
  
CLARK  
  
Goodnight, Lana.  
  
Lana slowly drives away, as Clark looks on from afar. As she passes a lone car, parked at the very end of the parking lot, the car turns on and begins to pull away as well. The car bears a striking resemblance to the one driven by the three mysterious individuals from before.  
  
Clark, at first, appears suspicious of the car and takes a step towards that end of the parking lot.  
  
LEX  
  
Clark, can I talk to you for a minute?  
  
Clark turns back to Lex then back in the general direction of where Lana drove off.  
  
CLARK  
  
Uh, yeah.  
  
Giving up, shrugging the vehicle off as a mere coincidence, Clark turns back to face Lex.  
  
CLARK  
  
What's up, Lex?  
  
LEX  
  
Well, it just.  
  
Lex stops for a moment, taking a good long look at the bare skin on the top of Clark's head.  
  
LEX  
  
That is gonna grow back, right?  
  
Clark smiles and runs his hand over his bald head.  
  
CLARK  
  
Yeah, that's what they tell me.  
  
LEX  
  
Good, cause I don't need you moving in on my territory, if you catch my drift.  
  
Clark laughs a little and starts walking towards his car. Lex walks with him.  
  
LEX  
  
As I was saying, it occurs to me that a few days ago you were laying deathly ill in a hospital bed. I wanted to know how you were feeling.  
  
CLARK  
  
::nods:: Good. I'm still a little weak, but I'm feeling pretty good actually.  
  
LEX  
  
So the doctors haven't found any signs of it coming back? None of the symptoms returning?  
  
Clark chooses his words carefully, concerned by the questions his friend keeps asking.  
  
CLARK  
  
No, haven't had any problems.  
  
LEX  
  
Good, that's good. It's good to know that when I get through this, it'll be done, and I won't have to worry about it anymore.  
  
Clark stops, short of his car. Concerned, he looks over at Lex.  
  
CLARK  
  
Get through what?  
  
LEX  
  
I'm infected, Clark.  
  
Clark is stunned and he swallows hard.  
  
CLARK  
  
How bad is it?  
  
LEX  
  
I'm a one eighty nine.  
  
CLARK  
  
But I don't understand. How is that possible?  
  
LEX  
  
My father was the one who pioneered the formula before selling it off to Westmorland. You remember Earl Jenkins?  
  
Clark is speechless, so he nods.  
  
LEX  
  
Yeah, well, apparently I made for a convenient guinea pig at the time. My father's moving out by the way. You might want to tell your mother.  
  
Clark, still speechless, looks almost as if he's in pain. Lex remains expressionless, manipulating his friend rather expertly.  
  
LEX  
  
But, hey, there's nothing worry about. Look at you. I just have to get a couple doses of that antidote in me and everything will be good, right?  
  
Clark, finally able to regain his composure, nods.  
  
CLARK  
  
Right. Exactly.  
  
LEX  
  
Good.  
  
The two friends stare at each other for a moment. They both clearly know that Clark is lying and the implications behind those lies, but they each seem content with letting that part of the conversation remaining between the lines. especially Clark.  
  
LEX  
  
Well, I'm gonna head home, get some rest. I'll see ya around, Clark.  
  
Lex turns and starts walking towards the other end of the parking lot where an expensive Ferrari sits parked away from the rest of the cars in the lot.  
  
CLARK  
  
See ya.  
  
Clark, deeply concerned for his friend, turns towards his car.  
  
INT. SMALLVILLE HOSPITAL - CHLOE'S ROOM  
  
Chloe's hospital room is all but completely dark, the only source of light being the television over in the top corner of the room. Chloe, worn out by the day's happenings, calmly sleeps in her hospital bed, a wisp of out of control blonde lying flatly over her face.  
  
Martha is also asleep sitting up with her arms folded in a chair next to the bed, but is stirred when the infomercial playing on the television gets particularly loud. She takes a moment to get her bearings about her, then looks over at Chloe sleeping in the bed.  
  
Martha seems maternally at place at Chloe's bedside, and gently brushes the hair from Chloe's face with her hand. Martha also takes hold of the blanket and pulls it up under Chloe's chin, tucking the teen in nice and tightly.  
  
Quietly, Martha makes her way over to the television and shuts it off, using the light sneaking in around the outline of the door to find her way out of the room.  
  
INT. SMALLVILLE HOSPITAL - HALLWAY  
  
Martha slips out of Chloe's room, careful to close the door without making any noise that might wake her. She then turns to make her way down the hall and narrowly avoids slamming right into the Smallville sheriff.  
  
MARTHA  
  
Oh, Ethan, I'm sorry I didn't see you there.  
  
ETHAN  
  
Quite all right, Mrs. Kent. Say, is this Chloe Sullivan's room?  
  
MARTHA  
  
Yes, it is, but she's sleeping right now. Can I help you?  
  
Martha grows concerned by the noticeably serious expression on Ethan's face.  
  
ETHAN  
  
Well, I'm not sure. Did she mention anything to you about the accident she had earlier today?  
  
MARTHA  
  
::shakes head:: Um, not really. I don't think so. Why?  
  
ETHAN  
  
Well, ordinarily I'd leave this kind of thing off until the morning, but in these types of cases it's best to get to the victim as soon as possible.  
  
MARTHA  
  
::confused:: These kinds of cases? What do you mean?  
  
ETHAN  
  
::frowns:: The report on Ms. Sullivan's vehicle came in from the impound earlier tonight. It seems the accident wasn't an accident after all. The brake line on her car was cut.  
  
Martha's eyes grow wide with disbelief.  
  
ETHAN  
  
Someone was trying to kill her.  
  
EXT. KENT FARM - NIGHT  
  
The stars shine brightly in the night sky, as Clark Kent slowly makes his way up his front porch steps. He holds the railing for support, tired and worn out.  
  
INT. KENT HOUSE - KITCHEN  
  
Jonathan steps into the kitchen, hearing his son's approach through the open screen door. Jonathan also appears tired, firmly massaging his right hand, arthritic signs of wear creeping up on an aging farmer.  
  
Clark opens the door and steps inside, nodding to his father as he shuts the door behind him.  
  
CLARK  
  
Hey, dad.  
  
Jonathan nods, watching as his son tosses the keys to his car on a nearby countertop. Clark removes his jacket, folding it over one of the chairs near the table, and heads over to one of the cabinets.  
  
JONATHAN  
  
Your mother staying at the hospital?  
  
Clark takes a glass out of one of the cabinets and runs it under the faucet. He fills the glass with cold tap water and takes a few long sips from the top. He turns back to face his father, leaning back against the sink for support.  
  
CLARK  
  
::nods:: Dr. Bryce kicked the rest of us out. Mom's staying with Chloe.  
  
JONATHAN  
  
How are they doing?  
  
Clark takes a deep breath, hanging his head. He exhales hard.  
  
CLARK  
  
Mr. Sullivan's going to be okay. They didn't find any internal bleeding. He's beaten up pretty bad, though.  
  
JONATHAN  
  
And Chloe?  
  
CLARK  
  
She's a mess.  
  
JONATHAN  
  
I'm sorry.  
  
CLARK  
  
Me too.  
  
JONATHAN  
  
How's Lana holding up?  
  
Clark finishes the glass of water and places the glass in the sink. Slowly, he makes his way over to the table, avoiding eye contact, and sits down.  
  
CLARK  
  
She's all right.  
  
The way he said it, Jonathan immediately recognizes that there's much more to it than his son's somewhat brief reply.  
  
CLARK  
  
She headed home around the same time I did.  
  
JONATHAN  
  
Alone?  
  
CLARK  
  
She said she was going to try and get some sleep, wake up early and head back to the hospital in the morning.  
  
Jonathan sits down at the table, across from Clark. He reads the anguish in his son's expression well.  
  
JONATHAN  
  
How about you? How are you feeling?  
  
CLARK  
  
Tired.  
  
Jonathan nods, rubbing his own eyes while suppressing a yawn. For a moment, Clark simply stares straight down toward the center of the table. He doesn't seem to be staring at anything in particular. Something is clearly weighing heavily on the young man's thoughts.  
  
CLARK  
  
How did things go at the school?  
  
JONATHAN  
  
About as well as could be expected, considering.  
  
CLARK  
  
There were a lot of people there today, at the hospital too.  
  
JONATHAN  
  
I know.  
  
CLARK  
  
Dr. Hackman took me aside. He wants me to come in for some follow-ups.  
  
Clark studies his father's reactions closely. Jonathan, to his credit, remains stone faced.  
  
CLARK  
  
The antidote isn't working.  
  
JONATHAN  
  
He told you that?  
  
CLARK  
  
He didn't have too.  
  
Now Jonathan is the one staring off into space at nothing in particular.  
  
Snapping himself back into the moment, Jonathan turns to look back across the table.  
  
JONATHAN  
  
What did you tell him?  
  
Clark shrugs and shakes his head, leaning back in the chair.  
  
CLARK  
  
Nothing. I told him I'd have to talk to you guys about it.  
  
JONATHAN  
  
Look, Clark.  
  
CLARK  
  
::interrupting:: If I let them examine me, they might be able to find a cure.  
  
JONATHAN  
  
And they might not.  
  
CLARK  
  
Well, what am I supposed to do, just stand around and do nothing?  
  
Jonathan goes to answer, but Clark keeps going.  
  
CLARK  
  
Some of these people are my friends. I see them every day at school, in the halls and in class. I have to do something.  
  
JONATHAN  
  
Clark, there are some people in life you're just not going to be able to help.  
  
CLARK  
  
But don't I have to at least try?  
  
JONATHAN  
  
I don't understand. What brought this on? We've been over this before. You knew this was coming.  
  
CLARK  
  
Things changed.  
  
JONATHAN  
  
What kind of things?  
  
CLARK  
  
Lex is sick.  
  
Jonathan pauses. It was a response he clearly wasn't expecting.  
  
JONATHAN  
  
How bad is it?  
  
CLARK  
  
Pretty bad.  
  
Jonathan takes a few moments to think. Clark conspicuously leaves out the part about Lionel being responsible for the whole thing.  
  
JONATHAN  
  
Son, this thing is still relatively new. They may still find a cure on their own.  
  
CLARK  
  
What do I do until then? How long do I wait? How many people have to die before I do something? You always said that I should keep my secret from my friends for their own benefit. How does my keeping my secret benefit them now? How does keeping my secret help Lex now?  
  
Jonathan struggles for a rebuttal, but can't seem to find anything to say.  
  
CLARK  
  
I know what might happen to me if people find out the truth, but does it really matter? If I can help them, what difference does it make what happens to me?  
  
Jonathan grows angry and looks his son straight in the eye.  
  
JONATHAN  
  
A hell of a lot, son. A hell of a lot.  
  
Clark sighs and shakes his head slowly. He leans further back in the chair, looking down at the table.  
  
CLARK  
  
I just don't know what to do anymore.  
  
The two Kent men sit together at the table, in silence.  
  
EXT. PETE'S HOUSE - NIGHT  
  
Outside Pete's house, all is relatively calm and peaceful as a single light turns on up on the second floor. A few seconds later, the first floor goes entirely dark.  
  
INT. PETE'S HOUSE - PETE'S BATHROOM  
  
Pete Ross stumbles into his bathroom, only half-conscious. Turning on the faucet, he cups his hands under the running water and splashes some over his face. Leaning over the sink, Pete blindly feels for a towel but ends up only waving at an empty towel rack. Hardly phased by the predicament, he simply pulls his shirt over his face and dries himself that way.  
  
Pete pulls the now wet shirt over his head and tosses it over onto a bulging hamper. The shirt merely hits the top of the pile of dirty clothes and rolls down onto the floor. Ignoring it, Pete continues with a rather brief attempt at hygiene, squeezing a tremendous glob of toothpaste onto the end of a severely worn toothbrush. A few violent strokes later, Pete spits and washes the toothpaste from his mouth.  
  
Even in his weary state, Pete takes a moment to admire himself in the mirror, striking a few poses to accentuate his biceps and chest. Laughing at himself, he shrugs and turns off the light and steps out into his room.  
  
INT. PETE'S HOUSE - PETE'S ROOM  
  
Pete's room is no cleaner than his bathroom, clothes strewn about in such a way that one might begin to wonder if it wasn't actually a teenage girl who resides here. There are also several posters up all over the walls of various rock groups and, most notable, several of, model, Tyra Banks.  
  
In almost a single motion, Pete swipes both the television and the light switch, turning the t.v. on and the lights off. First removing his wallet and cell phone and placing them on a nearby desk, Pete removes his clothes, stripping himself down to only his boxers before utterly collapsing onto his unmade bed. He grunts as he lands.  
  
For a while, he simply lays there, his face firmly embedded into his pillows as the television flickers away. After a few seconds, though, Pete turns his head and sniffs.  
  
A pause.  
  
Slowly, one of his eyes opens and he sniffs again, clearly smelling something unfamiliar. Finally, he sits up, taking a good long look around the room. Then, something draws his attention. Behind the television, the frame of the door to the hall seems to be somewhat hazy.  
  
Curious, Pete gets out of the bed and slowly makes his way over to the door. The danger of the situation becoming more and more clear with each step, Pete's eyes grow wide as he reaches for the door.  
  
Even knowing what he was going to find behind the door didn't prepare him for the first image of the flames enveloping the walls and floor of the hall. Clearly frightened, Pete jumps back at the first sight of the flames, shielding his eyes and his face from the heat.  
  
Desperate and coughing, Pete tries to make a mad dash towards the door, thinking of running through the flames to make his escape. At the last second, though, he wisely thinks better of it and again backs away from the door.  
  
Thinking on his feet, Pete turns to the window. It's a perilous drop down from his window, onto rocks below. He would probably survive the jump, but fear keeps him from making the initial stride.  
  
Seemingly left with no options, Pete begins to look around the room, frantically, for anything he might use to aid in his escape. At first, he thinks to tie the ends of some clothes together in a long chain, but as he grabs some from a pile on the floor, he remembers his cell phone.  
  
Quickly, Pete drops the clothes and makes a mad dash for the cell phone.  
  
PETE  
  
::dialing out loud:: Okay, Nine.  
  
Pete stops himself, looking at the flames as they crawl down the hall and make their way into his room.  
  
PETE  
  
::shakes head:: Yeah, right.  
  
He begins dialing another, slightly longer, phone number.  
  
INT. KENT HOUSE - KITCHEN  
  
In the darkness of the Kent kitchen, the phone begins to ring.  
  
INT. KENT HOUSE - CLARK'S ROOM  
  
The phone from the kitchen can barely be heard through Clark's closed bedroom door. The future man of steel lays in his bed, seemingly asleep, unaware of his friend's peril.  
  
INT. PETE'S HOUSE - PETE'S ROOM  
  
The flames have a life of their own and walk across the ceiling, walls, and floor hunting their prey. Pete, utterly terrified, further contemplates jumping from the window as he listens to the continuous ringing of the cell phone.  
  
PETE  
  
Come on, man. Pick up. Pick up!  
  
INT. KENT HOUSE - KITCHEN  
  
The phone continues to ring in the Kent's kitchen as the light turns on. Slowly, groggily, Jonathan hobbles down the stairs looking utterly confused.  
  
He makes his way over to the phone and, thankfully, picks it up.  
  
JONATHAN  
  
::groggily:: Martha?  
  
INT. PETE'S HOUSE - PETE'S ROOM  
  
His excitement is nearly enough to throw himself out of the window as Pete jumps to his feet upon hearing Jonathan's voice on the other end.  
  
PETE  
  
Mr. Kent!  
  
INT. KENT HOUSE - CLARK'S ROOM  
  
Jonathan, now fully awake, practically explodes through Clark's door, immediately hitting the light switch.  
  
JONATHAN  
  
Clark, wake up! It's Pete!  
  
Clark, still half asleep, struggles to even open his eyes.  
  
CLARK  
  
What?  
  
JONATHAN  
  
It's Pete. There's a fire at his house and he's trapped in his room.  
  
That wakes Clark up.  
  
CLARK  
  
What!  
  
Clark leaps out of his bed and is immediately to his feet.  
  
JONATHAN  
  
He's trapped in his bedroom. He doesn't know where his mother is. You have to get over there.  
  
Jonathan doesn't need to tell him twice and Clark practically disappears before his father's eyes, he runs out of the room so fast.  
  
INT. PETE'S HOUSE - PETE'S ROOM  
  
Pete, now having to deal with both the flames and the smoke, kneels down at the window, struggling to catch his breath. Coughing, the flames creep ever closer to him, now only a few feet away as they consume his room.  
  
EXT. PETE'S HOUSE - NIGHT  
  
Clark arrives at Pete's house, having run at utterly impossible speeds to get there in time to save his friend. Quickly, he examines the fiery inferno that is now Pete's house with his X-Ray vision, desperately searching for Pete and his mother amongst the flames.  
  
Almost immediately, he spots Pete on the upper floor, kneeling down low with the flames nearly upon him.  
  
CLARK  
  
Pete!  
  
Meanwhile, three mysterious onlookers observe Clark from a distance. The brute and mysterious man from before look at each other briefly, deep and serious expressions etched into their faces.  
  
The man turns to face the woman.  
  
MYSTERIOUS MAN  
  
Now?  
  
MYSTERIOUS WOMAN  
  
No, stay here. If we're lucky, this situation may just take care of its self.  
  
MYSTERIOUS MAN  
  
I don't like the idea of just sitting here.  
  
MYSTERIOUS  
  
Patience... Good things come to those who wait.  
  
INT. PETE'S HOUSE - PETE'S ROOM  
  
The flames inching even closer, Pete starts to stand, getting ready to leap out of the window. To his relief, though, from out of the heart of the flames, Clark emerges in front of him.  
  
PETE  
  
Clark!  
  
No time for pleasantries, Clark grabs the blanket off the bed and immediately runs into the bathroom. Running the shower over the blanket, he wets it with cold water and darts back into the room, covering Pete with it.  
  
Not wasting any time, Clark picks his friend up onto his shoulders and darts out of the room and through the house at super speeds.  
  
EXT. PETE'S HOUSE - NIGHT  
  
Clark runs out of the house at super speed, carrying Pete safely away from the house. Once at a safe distance, he puts Pete down and grabs the wet blanket off his friend, tearing back into the house almost before Pete's feet even touch the ground.  
  
Trying to catch his breath, Pete coughs uncontrollably, as his lungs try desperately to expel the smoke he inhaled while inside the house. At the same time, Pete looks on in horror as his house is consumed by flames. The fear in Pete's mind burns as hot as the fire itself.  
  
After several seconds of desperation pass by, Pete is overjoyed to see Clark once again immerge from the flames, carrying Pete's mother on his shoulders.  
  
Quickly, Clark brings Mrs. Ross to Pete and lays her down on the ground. She is coughing pretty badly, and Pete rushes to her side.  
  
PETE  
  
Mom. Mom, are you all right?  
  
Still coughing, Mrs. Ross nods, doing her best to calm her son amidst this horror.  
  
Clark, meanwhile, also seems to be out of breath. Taking several long and deep breaths, Clark turns away from the house for a moment when he spots something off in the distance. It is little more than a brief reflection of moonlight, but it's enough to draw Clark's attention.  
  
Using his super vision to see across the field, Clark spies the three mysterious people in the distance, all huddled around their car.  
  
Off in the distance, the woman stares straight back at Clark through a pair of binoculars as the man and brute anxiously await her next order.  
  
MYSTERIOUS WOMAN  
  
::nonchalant:: Get in the car.  
  
MYSTERIOUS MAN  
  
What? Why?  
  
MYSTERIOUS WOMAN  
  
He sees us.  
  
The man worriedly looks towards the direction of the house.  
  
MYSTERIOUS MAN  
  
Oh crap.  
  
The three of them hurriedly get in the car and prepare to drive away.  
  
Seeing the three start to run, Clark's expression changes. He appears angry and starts walking towards the direction of the car. Pete, holding his mother in his arms, looks up at Clark.  
  
PETE  
  
Hey, where you going?  
  
Clark stops and turns to make sure Mrs. Ross is looking the other way.  
  
CLARK  
  
I'll be back.  
  
In the distance, the mysterious woman starts the car up and hits the gas, sending the car down the road as fast as it can go.  
  
Clark watches the car take off down the road and immediately darts after it at super speeds. The car is no match for him and barely makes it the length of a football field before he catches it.  
  
Grabbing it from behind, Clark takes a hold of the car's bumper and lifts the rear end of the car off the ground. A rear wheel drive, the car's back tires spin in the air, but the car stays right where it is. It's safe to say that Clark is extremely pissed.  
  
Inside the car, the woman turns to the man and nods. Apparently getting the message, he nods back and then looks to the brute sitting in the back.  
  
MYSTERIOUS MAN  
  
Take care of it.  
  
The brute groans a reply before opening the side door and stepping out of the car.  
  
The back tires stop spinning and Clark, noticing the brute, puts the car down. Walking around the side of the car, Clark approaches the man and is surprised to find himself dwarfed by the brute. He shows no fear, though, and steps right up next to him.  
  
CLARK  
  
Go ahead. Take your best shot.  
  
The mysterious brute obliges, swinging his enormous arm around and slamming his fist into Clark's chest. Incredibly, and unexpectedly, Clark is immediately airborne and flies several hundred feet up and back into the air. By the time he finally lands, Clark has practically been knocked all the way back to Pete's house.  
  
The brute merely shakes his head and gets back into the car.  
  
Clark, severely winded by the blow, is barely able to prop himself up with his arm, stealing a glance back at the mysterious threesome. In shock, he lays there helplessly as the car drives away.  
  
EXT. SMALLVILLE POLICE STATION - MORNING  
  
The sun slowly rises over the horizon, thankfully bringing about a new day in Smallville. Jonathan's truck sits in the parking lot of the police station.  
  
INT. SMALLVILLE POLICE STATION - SHERIFF'S OFFICE  
  
A sketch artist runs his fine stencil tool over his sketch pad, carefully going over the intricate details that make up recreating a human face. The sheriff, Jonathan, Clark, and Pete eagerly await the results of his work.  
  
Satisfied, the sketch artist turns the pad around to show Clark.  
  
CLARK  
  
::shakes head:: The nose was a little rounder. and so was the chin.  
  
As the sketch artist alters the image accordingly, the sheriff takes time to grill Clark further for details, undoubtedly doing his best to feel useful.  
  
ETHAN  
  
You say there were three of them?  
  
CLARK  
  
That I could tell, but the other two stayed in the car. I never got a good look at them.  
  
ETHAN  
  
What about you, Pete? Are you sure you didn't see anything?  
  
PETE  
  
::shakes head:: I wish I did. I stayed back with mom.  
  
Ethan shrugs and turns back to again question Clark.  
  
ETHAN  
  
What about the car? Can you describe it?  
  
CLARK  
  
Well, it was black. ::rethinks:: It could've been a dark green. It was dark. I couldn't really tell.  
  
ETHAN  
  
Make? Model?  
  
CLARK  
  
::shrugs:: It was new. It might've been a Ford but I'm not really sure. It didn't have any markings on it that I recognized.  
  
ETHAN  
  
What about the license plate?  
  
CLARK  
  
There was none, at least not on the rear. I didn't see the front.  
  
ETHAN  
  
No license plate? Well, they shouldn't be too hard to find driving around without a license plate.  
  
The sketch artist shows his revised sketch to Clark for approval. Immediately recognizing the face on the sketch pad Clark points to it and nods.  
  
CLARK  
  
That's him. That's the guy.  
  
The sketch artist hands the pad to Ethan for inspection. The sheriff carefully looks it over, analyzing it to the very last detail, when something catches his eye.  
  
He shows the pad to Clark again.  
  
ETHAN  
  
Now, you're sure this was the man who attacked you?  
  
CLARK  
  
Positive.  
  
JONATHAN  
  
Do you recognize him, Ethan?  
  
ETHAN  
  
How tall did you say this man was again, Clark?  
  
CLARK  
  
Well, he was a lot taller than me and I'm six-four. I'd say he was at least six-eight, if not taller.  
  
ETHAN  
  
::nodding:: I see.  
  
Ethan walks over to the door to his office and opens it. Sticking his head out, he calls to one of the deputies on duty.  
  
ETHAN  
  
Hey, Kenny, you wanna come in here for just a second? I want you to see something.  
  
The young deputy nods from behind a desk and stands, quickly walking over to the sheriff's office.  
  
KENNY  
  
Yeah, Sheriff?  
  
Kenny steps into the office and the sheriff hands him the sketch pad to look at. The young deputy's eyes immediately widen. It's clear to everyone that he recognizes the face on the sketch pad.  
  
ETHAN  
  
What do you make of that, son?  
  
KENNY  
  
Well, Sheriff, I won't go 's far as swearin' on it. but I think I seen that man before.  
  
ETHAN  
  
This here's Clark Kent, says he met up with this fellow last night at the Ross place.  
  
KENNY  
  
Place that burned down?  
  
The deputy's less that tactful remark causes Pete fidget in his seat. He bites his upper lip to keep himself from saying anything he might regret.  
  
ETHAN  
  
That's the place. He says he saw this man with two other people driving away from the scene.  
  
KENNY  
  
Man and a woman?  
  
CLARK  
  
::nods emphatically:: That's what he said.  
  
Kenny looks up at Ethan and the two silently converse over the identity of the mysterious brute.  
  
ETHAN  
  
I think it might be a good idea if you brought that tape in here, son.  
  
KENNY  
  
Right away, Sheriff.  
  
Kenny quickly exits in search of the tape.  
  
Jonathan, meanwhile, is desperate for some answers.  
  
JONATHAN  
  
Ethan, do you know who these people are?  
  
ETHAN  
  
Well, I think it best that we not jump to any conclusions at this time, but if my hunch is correct, we might just have some right fine dangerous individuals on our hands, Jonathan.  
  
After a few seconds, the deputy returns carrying a videocassette under his arm. He quickly hands it to Ethan.  
  
KENNY  
  
Here you go, Sheriff.  
  
ETHAN  
  
Thank you, son, that'll be all.  
  
Kenny quickly heads back out of the office, closing the door behind him.  
  
Ethan removes the tape from its box and walks over to the far corner of the room where a large television sits mounted caddy-corner near the ceiling. He feeds the tape into the television, turns it on, and steps back.  
  
ETHAN  
  
Now, Clark, I want you to look very closely at this tape and tell me if you recognize anyone.  
  
Clark nods as everyone views the tape.  
  
As the tape plays, a somewhat blurred black and white image appears on the screen. The film appears to have been taken from a surveillance camera in the hall of a large office building. An impressive logo with the letter "W" inside of it appears painted mural style on one of the walls.  
  
After a few seconds, three people enter into the picture at the far end of the hallway. Slowly, they make their way down the hall and towards the camera. As they approach, Clark stands to get a better view.  
  
CLARK  
  
That's him.  
  
Ethan pauses the tape as the three mysterious figures close in on the camera. Clark, points directly at the mysterious brute who appears towering over a man and woman walking in front of him.  
  
CLARK  
  
He's the one who attacked me.  
  
Pete and Jonathan stand, walking towards the television screen. They both make sure to take a good and long look at the three mysterious individuals.  
  
JONATHAN  
  
Ethan, where was this taken?  
  
ETHAN  
  
At the Westmorland Food Distributors Headquarters the night Jon Westmorland was shot and killed.  
  
Pete shakes his head, not wanting to believe it.  
  
PETE  
  
Who are these people?  
  
ETHAN  
  
Whoever they are, they're professionals. These surveillance cameras were setup intermittently around the building and at every point of entry. These three individuals were recorded entering the building at approximately 9:22 the night Jon Westmorland was killed. The odd thing about that is, they never recorded them leaving.  
  
Jonathan, Clark, and Pete stare into the television screen ultimately paralyzed by the image before them.  
  
INT. SMALLVILLE HOSPITAL - WAITING AREA  
  
Several doctors make their way down the hall and passed the waiting area where Martha Kent silently sleeps in the corner chair. Lana Lang, upon seeing Mrs. Kent, walks up to her silently, trying not to disturb her.  
  
LANA  
  
::softly:: Mrs. Kent.  
  
Lana reaches her hand out, trying to stir Martha gently.  
  
Suddenly, Martha screams, nearly leaping out of the chair. Lana quickly pulls back, surprised by the reaction.  
  
MARTHA  
  
Oh, Lana.  
  
Martha struggles to catch her breath as Lana looks at her, confused.  
  
MARTHA  
  
I'm sorry. I didn't mean to scare you.  
  
LANA  
  
Same.  
  
MARTHA  
  
I must've been having a nightmare.  
  
LANA  
  
No, that's what you're having now that you woke up.  
  
Martha stops to consider Lana's words. Ultimately, it's hard to debate.  
  
MARTHA  
  
Point taken.  
  
LANA  
  
How's Chloe?  
  
MARTHA  
  
Sleeping. I think. What time is it?  
  
LANA  
  
It's about eight.  
  
MARTHA  
  
I guess I was out a while then.  
  
LANA  
  
Where's everyone else?  
  
MARTHA  
  
They must still be at the police station. The good news is Ethan thinks he knows who it was who set the fire.  
  
LANA  
  
He does?  
  
MARTHA  
  
::nods:: Clark was able to identify the people he saw.  
  
LANA  
  
I still don't know why anyone would want to kill Mrs. Ross.  
  
MARTHA  
  
Mrs. Ross?  
  
LANA  
  
You think they were after Pete?  
  
MARTHA  
  
Didn't anyone tell you?  
  
LANA  
  
Tell me what?  
  
MARTHA  
  
Chloe's brake line was cut. That's what caused the accident. Someone tried to kill her.  
  
Lana looks horrified and her face goes pale. Martha immediately regrets having told her.  
  
MARTHA  
  
I'm sorry. I thought you knew.  
  
LANA  
  
Chloe and now Pete?  
  
Lana does her best to comprehend this new piece of information, weighing all of the potential consequences in her head.  
  
LANA  
  
Does she know?  
  
MARTHA  
  
I haven't told her. I thought I should talk to her father about it first. In fact, Dr. Bryce told Chloe she'd be able to go in and see him this morning. I should probably go see if he's awake. Why don't you go in and see if Chloe's up to it while I check with the doctors.  
  
LANA  
  
All right.  
  
Lana and Martha each stand and walk in opposite directions, Lana towards the nearby door to Chloe's hospital room.  
  
INT. SMALLVILLE HOSPITAL - CHLOE'S ROOM  
  
Lana is surprised to see Chloe wide awake and sitting up in her hospital bed, busily clicking away at the remote control to the television mounted on the far wall.  
  
LANA  
  
::surprised:: You're awake.  
  
Chloe smiles, seemingly having not even noticed Lana up until this point.  
  
CHLOE  
  
Hey. Yeah, I have been for a while now actually.  
  
Lana looks up at the television.  
  
LANA  
  
What are you watching?  
  
CHLOE  
  
Anything but Happy Days. I just watched about eight episodes in a row and if I hear the Fonz go "Aaayyy" one more time I'm going toss my bedpan.  
  
Lana laughs, assured by the fact that her friend's sense of humor still seems to be intact.  
  
LANA  
  
How are you feeling?  
  
Chloe turns the television off, not wanting to be rude, and places the remote control down on the bed. Lana walks over to her and sits down in the chair next to the bed.  
  
CHLOE  
  
I guess I'm okay. I mean I feel like someone went all Buffy on me and tried to drive a stake through my chest, but other than that.  
  
Chloe places her hand on her lower side, indicating her place of pain.  
  
LANA  
  
Still hurts, huh?  
  
CHLOE  
  
::pouting:: A little.  
  
LANA  
  
Well, I have good news. Mrs. Kent is checking with the doctors right now. With any luck, you'll be able to go see your dad.  
  
Chloe's eyes widen and a great big smile runs across her face, but only briefly. For some reason, it seems to melt away, and the perky blonde diverts his eyes.  
  
CHLOE  
  
That's great. Have. Have you seen him yet?  
  
Lana, noticing her friend's mood change, looks concerned.  
  
CHLOE  
  
Is he mad?  
  
LANA  
  
Mad? Why would he be mad?  
  
CHLOE  
  
Oh, I don't know, maybe because I went all kamikaze on him.  
  
LANA  
  
You didn't do it on purpose, Chloe, he knows that.  
  
CHLOE  
  
Since when does that matter?  
  
LANA  
  
What are you talking about?  
  
Chloe is hesitant to explain, clearly uncomfortable about elaborating on the subject, but Lana persists.  
  
LANA  
  
Chloe?  
  
CHLOE  
  
Lana. You may live with us, but you don't know my father like I do.  
  
LANA  
  
Well, your father can be a hard person to get to know. He's always at the plant all the time.  
  
CHLOE  
  
I know. It's because of me.  
  
LANA  
  
Because of you?  
  
CHLOE  
  
::nods/sad:: He's always at the plant because he doesn't want to come home. Why do you think I'm always at the Torch?  
  
LANA  
  
Chloe, your father loves you.  
  
CHLOE  
  
::teary eyed:: My father doesn't love me. He loved my mother. He puts up with me.  
  
Lana sits there, in stunned silence, staring into the tearing eyes of her injured friend.  
  
CHLOE  
  
All I ever wanted was for him to love me. but I know he blames me. for looking like her, for being like her, for reminding him of her.  
  
Chloe wipes some tears from her eyes, and slams one of her hands down on the bed, frustrated by her own crying.  
  
CHLOE  
  
Now, after all this. he probably hates me.  
  
Lana takes a moment, carefully planning her response.  
  
LANA  
  
Well, maybe your father's not a very good man then.  
  
Lana's words catch Chloe completely off guard. She looks up at Lana, her eyes still filled with tears.  
  
LANA  
  
That's why we have friends. friends who care about us and will be there for us when we need someone. That's something you have, Chloe, a lot of very good friends.  
  
Lana smiles at Chloe and she smiles back.  
  
LANA  
  
Take it from me, friends can be just as good as family.  
  
Chloe nods back, grateful to Lana for her support.  
  
Behind Lana, the door to Chloe's room opens and Martha Kent walks in. Upon seeing Chloe, she smiles.  
  
MARTHA  
  
Good morning. How are you feeling?  
  
CHLOE  
  
Hi, Mrs. Kent. I'm feeling better.  
  
Chloe nods to Lana, who smiles.  
  
CHLOE  
  
Thanks.  
  
MARTHA  
  
Ready to go see your dad? He's looking forward to seeing you.  
  
CHLOE  
  
::smiles:: Yeah, I'm looking forward to seeing him too.  
  
EXT. LEX'S MANSION - MORNING  
  
Outside Lex' mansion, a long stretch limo pulls up in the driveway next to an expensive looking Porshe. A tall man, adorning an Armani suit, steps out of the limo carrying a slim manila folder. Noticing the Porshe, he smiles, walking up to it and examining the license plate. It reads "LEX 03X". Nodding his head, he promptly kicks in one of the brake lights and makes his way up the walkway towards the house.  
  
INT. LEX'S MANSION - LEX'S OFFICE  
  
Lex Luthor sits down at his desk, a newspaper in hand. He seems quite comfortable, an elegant silk robe draped over his shoulders and a cup of tea within reach. One would be hard stretched to find any visual signs of the disease that plagues his system but for the inhaler and parade of prescription bottles gathered at the far corner of the desk.  
  
Muffled voices can be heard from outside the door to the office, loud voices. Two people, approaching the door, are seemingly screaming at each other. Amazingly, Lex doesn't seem to notice and continues to read his paper.  
  
The doors to the office swing open, violently. On the other side, a cleaning lady desperately tries to hold back the man carrying the folder, but with little success.  
  
JANIS  
  
No! You are not allowed to be here!  
  
STEVEN WESTMORLAND  
  
Shut up old woman!  
  
Furious, Steven swings his arm to dislodge the woman's grip, heading straight for Lex's desk.  
  
STEVEN WESTMORLAND  
  
Luthor!  
  
Lex looks up from his paper and sighs.  
  
JANIS  
  
I'm sorry, Mr. Luthor!  
  
Janis runs up to Lex, begging his forgiveness.  
  
JANIS  
  
I tried to stop him, but he wouldn't listen to me.  
  
Steven Westmorland, son of Jon Westmorland, opens the folder and throws it in front of Lex. Several black and white photographs, apparently taken from surveillance cameras, show three mysterious figures inside a large conference room.  
  
STEVEN WESTMORLAND  
  
I want to know who they are, Luthor. I want to know who and I want to know now!  
  
Lex looks over the photographs somewhat uninterestedly. He is surprisingly calm facing a man who just broke into his home, making the accusations Steven has just made.  
  
Clearly expecting an immediate response of some kind, Steven is almost appalled by Lex's silence. Lex does nothing to lessen the man's anger when he very calmly takes a sip of his tea while fingering through some of the images.  
  
STEVEN WESTMORLAND  
  
Are you going to just sit there?  
  
Very calmly, very politely, Lex looks up.  
  
LEX  
  
I'm looking.  
  
STEVEN WESTMORLAND  
  
Don't play stupid with me. You know exactly who they are because you sent them to kill my father you diseased maniac!  
  
LEX  
  
::smiling:: You think I sent these people to kill your father. for revenge?  
  
Lex leans back in his chair, folding his arms across his chest.  
  
LEX  
  
Your father's life was down the proverbial toilet. His company, which he had built from a single farm in Indiana to a multi-billion dollar corporation, was being sued by practically everyone in the lower forty- eight states, not to mention the fact that he was facing upwards of ten thousand years in jail. Now, I ask you, what would be the point?  
  
Steven pauses. He had been prepared for a denial and was poised to attack it as soon as it slimed its way off of Lex's lips. Like so many before him, however, he had failed to anticipate Lex's move, and was now at his mercy.  
  
LEX  
  
My father, on the other hand, this is more his style.  
  
STEVEN WESTMORLAND  
  
That formula was developed at your plant.  
  
LEX  
  
Which my father owned at the time.  
  
Steven doesn't appear to have a rebuttal for that comment, and appears somewhat sheepish at this point.  
  
LEX  
  
Look, I don't know who these people are and I don't particularly care. It's none of my business unless they're linked to my father. In which case, nothing would please me more than to see him rot in a jail cell for the rest of his pathetic little life. So, do you want my help or not?  
  
STEVEN WESTMORLAND  
  
::skeptical:: You'd help me put away your own father?  
  
LEX  
  
All's fair in love and war, and the battle lines have been drawn.  
  
Lex points over to his collection of prescription bottles.  
  
LEX  
  
My father likes letting other people pay for the consequences of his actions. That honor is normally bestowed upon me. Well, I have no intention of playing stand-in whipping boy for the rest of my life. You want to bring down Lionel Luthor? Then get in line.  
  
Steven Westmorland takes a tiny step back, the cold in Lex's eyes sending a shiver down his spine.  
  
INT. SMALLVILLE HOSPITAL - CHLOE'S ROOM  
  
Like a good little friend, Lana carefully folds over the sheets on Chloe's bed, tucking the ends of them under the mattress. She appears quite serene as she finishes making the bed, smiling and giving it a quick nod of satisfaction.  
  
Looking up, she notices Pete walk in from the hall.  
  
PETE  
  
Hey, Lana.  
  
LANA  
  
Hi, Pete.  
  
PETE  
  
Where's Chloe?  
  
LANA  
  
Oh, Mrs. Kent just took her over to see her father. Where's Clark?  
  
PETE  
  
He and Mr. Kent had to drop by the house and pick something up. They'll be here soon.  
  
Pete walks further into the room, taking a seat in a chair in the corner of the room.  
  
PETE  
  
So how you doing?  
  
LANA  
  
Me? What about you? I heard about the fire.  
  
Pete, doing his best at trying to appear macho.  
  
PETE  
  
Ah, I'm fine.  
  
LANA  
  
Yeah, it's a good thing Clark showed up when he did. What are you guys going to do now? Do you have a place to stay?  
  
PETE  
  
My uncle said we can stay with him until we find a new place.  
  
LANA  
  
So, at least you'll still be in Smallville.  
  
PETE  
  
Yeah. So, how's Chloe been holding up? Did you see her?  
  
LANA  
  
She's all right. I guess.  
  
Lana's hesitation is a dead giveaway.  
  
PETE  
  
Spill it.  
  
LANA  
  
She's just got me a little worried, you know? I've never seen her like this before.  
  
PETE  
  
Like what?  
  
Lana thinks for a moment, carefully choosing the best word to describe Chloe.  
  
LANA  
  
Cold.  
  
Pete seems confused. It was a response he hadn't been expecting.  
  
PETE  
  
Cold?  
  
Lana takes a seat on the end of the bed.  
  
LANA  
  
::hesitant:: She never wanted to go in to see her father. If it had been up to her, she wouldn't have gone in at all.  
  
PETE  
  
What are you talking about? Last night we practically had to tie her down to the bed.  
  
LANA  
  
That was last night.  
  
PETE  
  
Well, why didn't she want to go in?  
  
LANA  
  
She blames him.  
  
PETE  
  
For the accident?  
  
LANA  
  
::shakes head:: For her mother leaving.  
  
PETE  
  
Oh.  
  
LANA  
  
When I moved in with Chloe, I had this image of her in my head, ya know?  
  
Pete nods.  
  
LANA  
  
She's not at all like what I expected.  
  
PETE  
  
::shakes head:: She was just in a major accident. Someone tried to kill her. She's probably just in shock over the whole thing.  
  
LANA  
  
That's not what I mean. You don't see her at home, like I do, Pete. She can be really mean and nasty to her father sometimes. I can't even count the number of times I've seen the two of them fighting.  
  
PETE  
  
::disbelief:: Chloe?  
  
LANA  
  
::nods:: She resents him, blames him for everything. I mean, I like to give her the benefit of the doubt, but he doesn't really deserve any of it. He really tries, Pete. She just shuts him out.  
  
PETE  
  
I had no idea.  
  
LANA  
  
Think about it; all the time she spends at the Torch, her late night investigative outings. She's never home. She avoids him at all costs.  
  
PETE  
  
I never really thought about it that way.  
  
LANA  
  
When she told me that she didn't even want to go in to see him. She scared me a little.  
  
Pete's expression is one of great concern. He takes Lana's words to heart, not completely knowing what to make of them.  
  
LANA  
  
I didn't say anything, but I think she'd be content with not having a relationship with her father at all, and now that he's going to be needing all this physical therapy. I don't think she's going to be there for him.  
  
Lana makes sure to stare directly into Pete's eyes.  
  
LANA  
  
I'm really worried for the both of them. I know what it's like not to have any family and I'd hate to see Chloe just throw her relationship with her father away.  
  
PETE  
  
Yeah. me too.  
  
Pete nods, swallowing hard. He goes to say something, but is interrupted when Clark steps into the room.  
  
CLARK  
  
Hey, guys. Where's Chloe?  
  
Lana's expression immediately changes upon seeing Clark. She jumps down off the bed and walks over to him.  
  
LANA  
  
Your mother brought her over to see her father.  
  
CLARK  
  
Oh, really? What room are they in?  
  
LANA  
  
They're just down the hall. Come on, I'll take you.  
  
Pete doesn't get up at first. Clark, noticing this, looks over at Pete.  
  
CLARK  
  
You coming, Pete?  
  
Pete, snapping himself out of his temporary haze, shakes his head and stands.  
  
PETE  
  
Yeah. Yeah, I'm coming.  
  
Pete walks out with Clark and Lana.  
  
INT. SMALLVILLE HOSPITAL - GABE SULLIVAN'S ROOM  
  
Gabe Sullivan lies in the hospital bed, clearly having seen better days. The right side of his face is swollen. Practically the entire rights side of his body is covered in hard plaster, his arm and leg both slightly elevated.  
  
The door slowly creeps open and Gabe manages to divert his eyes enough to see his daughter gingerly enter. Chloe doesn't smile and Mrs. Kent practically has to push her all the way into the room.  
  
MARTHA  
  
Visitors.  
  
Gabe, however, does smile upon seeing his daughter.  
  
GABE SULLIVAN  
  
Hi, baby.  
  
CHLOE  
  
Hi, Daddy.  
  
GABE SULLIVAN  
  
I'm so glad you're all right.  
  
Chloe forces herself to smile, but says nothing. Martha, meanwhile, sensing the awkward silence, heads for the door.  
  
MARTHA  
  
I'll just leave you two alone.  
  
GABE SULLIVAN  
  
Thank you, Martha.  
  
Martha smiles and nods, closing the door behind her as she leaves.  
  
Chloe, for the most part, avoids looking at her father. It's clearly very difficult for her to look at him in his current condition.  
  
GABE SULLIVAN  
  
Come here, Chloe.  
  
Noticing how far away his daughter is standing from the bed, Gabe pats the side of his bed, trying to get her to come closer. She does so, slowly, her head hanging down in a very depressed manner.  
  
GABE SULLIVAN  
  
Sit down.  
  
Chloe sits on the edge of the bed, her hands in her lap.  
  
GABE SULLIVAN  
  
Listen, I don't want you to worry about me, okay?  
  
With his good arm, Gabe touches his daughter's chin, trying to pick her gaze up to meet his.  
  
GABE SULLIVAN  
  
I don't want you to worry, okay? Things are going to be a little different around the house while I rehab, but I don't want you to worry about it. This isn't your fault, and I don't want you to feel guilty.  
  
CHLOE  
  
::teary-eyed:: I know, Daddy.  
  
GABE SULLIVAN  
  
Hey, don't cry. I'm going to be fine. And I promise, I'm not going to be a burden on you.  
  
Gabe takes his daughter's hand in his and squeezes it tight. Chloe, for the most part, seems to be accepting her father's speech.  
  
CHLOE  
  
You're not a burden, Dad.  
  
GABE SULLIVAN  
  
::nods:: I just don't want you to worry, okay?  
  
CHLOE  
  
Okay.  
  
GABE SULLIVAN  
  
Nothing's going to change. You just keep doing what you've been doing and we'll get through this. I'll get someone to come to the house to work with me for a while and.  
  
CHLOE  
  
::shakes head:: You don't need to do that. I'll be there to help you.  
  
GABE SULLIVAN  
  
::insistent:: No, no. I want you concentrate on your schoolwork, and your friends, and the newspaper I know you love.  
  
Chloe seems confused, and wipes some of the tears from her eyes.  
  
GABE SULLIVAN  
  
. and just being a teenager. The last thing you need is me holding you back and keeping you home all day when you should be out, enjoying life.  
  
Chloe shakes her head and pulls her hand out of her father's.  
  
CHLOE  
  
What's wrong, Dad? Don't want me in the house?  
  
Gabe looks slightly confused as his daughter stands and backs away from the bed.  
  
CHLOE  
  
Don't want me around, is that it?  
  
GABE SULLIVAN  
  
What are you talking about?  
  
CHLOE  
  
You're right, Dad. Nothing's changed.  
  
Chloe turns and heads for the door.  
  
GABE SULLIVAN  
  
Chloe, where are you going?  
  
CHLOE  
  
Away from you. That's what you really want anyway.  
  
GABE SULLIVAN  
  
Chloe!  
  
Chloe storms out of the room, slamming the door behind her.  
  
INT. SMALLVILLE HOSPITAL - WAITING AREA  
  
Chloe practically flies out of Gabe Sullivan's hospital room, half hysterical. She quickly turns down the hall, back towards her room, heading straight for Clark, Pete, and Lana.  
  
Seeing Chloe in tears, Clark quickly starts walking towards her.  
  
CLARK  
  
Chloe!  
  
Chloe immediately wraps her arms around Clark, crying into his chest.  
  
CHLOE  
  
::crying:: I hate him, Clark! I hate him!  
  
CLARK  
  
Chloe, what's wrong?  
  
CHLOE  
  
::crying:: Take me home, Clark. I don't want to be here anymore. I just want to go home.  
  
Lana and Pete stand on either side of them, both concerned for their friend.  
  
PETE  
  
What about your dad?  
  
CHLOE  
  
::crying:: What about him?! He doesn't want to see me and I don't want to see him. I just want to go home.  
  
PETE  
  
Your Dad cares about you, Chloe.  
  
CHLOE  
  
::crying:: No, he doesn't. He doesn't want anything to do with me.  
  
PETE  
  
He doesn't want anything to do with you, or is it the other way around?  
  
Stunned, Clark, Lana, and Chloe all turn to face Pete.  
  
CLARK  
  
Pete!  
  
Pete can hardly believe he said it either and appears very uneasy.  
  
Chloe, no longer able to even stand the sight of Pete, shakes her head and slaps him across the face. She then turns, crying, and runs down the hall to her room.  
  
CLARK  
  
I can't believe you just said that.  
  
Clark gives Pete a rather frightening scowl and then turns to run after Chloe. Lana does too, but not before giving Pete a "don't look at me" shrug.  
  
Pete, clearly regretting what he said, just stands there looking completely helpless.  
  
EXT. LUTHOR MANSION - DAY  
  
To say that Lionel Luthor looks pissed would be an understatement. Several men in suits step out of the limo to follow him up the walkway and toward the entrance to Luthor Mansion. A temporary assistant helps guide the blind man.  
  
INT. LUTHOR MANSION - LEX'S POOL ROOM  
  
Lex Luthor carefully bends over the table, lining up a long range shot on the eight ball in the corner pocket. He pulls the cue stick back smoothly but just as he's about to shoot, the doors to the pool room swing open.  
  
LIONEL  
  
Lex, we need to talk!  
  
Lex badly misses his shot, scratching the cue ball in the corner pocket. He doesn't seem particularly upset about it, though. Instead, he stands straight up and smiles at his father, standing the cue stick on its end and leaning on it slightly.  
  
LEX  
  
::very upbeat:: Hi, Dad.  
  
Martha's temporary replacement tries to help Lionel into the room but Lionel slaps him away, choosing to use his walking stick instead. The men in suits, undoubtedly lawyers, follow him closely.  
  
LIONEL  
  
I want to know what exactly you're trying to pull. What do you want with those records?  
  
LEX  
  
Whatever do you mean?  
  
Lex smiles, walking over to the pocket where he scratched and pulling the cue ball out. Lionel is clearly not amused but his son's sarcasm.  
  
LIONEL  
  
You know exactly what I mean. I'm warning you, son, I don't respond well to being subpoenaed.  
  
LEX  
  
You were running illegal experiments in an undisclosed section of the LexCorp plant, experiments which have proven to be a health risk. Seeing as I am the new owner of the plant, I have a responsibility to my employees to make sure there are no existing remnants of those experiments which could be harmful to them. Since you have not, up to this point, volunteered your records on the aforementioned experiments, I had the district attorney issue a subpoena.  
  
Lex smiles, despite knowing his father can't appreciate his prideful grin. He places the cue ball back on the table where it was before his father caused him to so horribly miss.  
  
LIONEL  
  
You know full well that those records no longer exist.  
  
LEX  
  
Well, that's unfortunate for you. Because if I don't have them on my desk in forty-eight hours. Well.  
  
Lex pulls back the cue stick and shoot. The cue ball darts forward, slamming into the eight, and stopping simultaneously. The eight ball hits the pocket dead on, and sinks.  
  
LEX  
  
They're gonna tear your office to shreds looking for them. I certainly hope you don't have anything to hide.  
  
Lex drops the cue stick on the table and steps right in front of his father, looking straight into the man's sightless eyes.  
  
LEX  
  
Otherwise, you could be in a bit of trouble.  
  
Lionel, stone faced, bites his lower lip. He can almost hear the pride in his son's smile.  
  
LIONEL  
  
I'm warning you, son. You think you have something in that plant? You think your small victory here in this pathetic little town makes you something special? The only thing special about you is your name. You're not ready for the big leagues yet, Lex. You're not ready to go toe to toe with your old man.  
  
LEX  
  
Yeah? Well, we're about to find out.  
  
Lionel smiles, rather demonically, and turns back towards the door.  
  
LIONEL  
  
I'll have that subpoena quashed before you finish another rack. Your petty attempt at revenge is a waste of my time. I've stepped on bigger bugs than you.  
  
Lionel and his lawyers exit, Lionel's assistant shutting the door behind them.  
  
LEX  
  
I feel fine, thanks. Dad.  
  
Lex's prideful smile melts away. He almost appears sad.  
  
INT. SMALLVILLE HOSPITAL - CHLOE'S ROOM  
  
Chloe steps out of the bathroom, the hospital robe in her arms, adorning a clean set of clothes. She's no longer crying, but she might as well be.  
  
She quickly tosses the hospital robe on the bed as Clark and Lana plead with her.  
  
CLARK  
  
Chloe, Pete didn't mean it.  
  
CHLOE  
  
It doesn't matter.  
  
CLARK  
  
Well, you just can't leave.  
  
CHLOE  
  
Why not?  
  
Actually looking for an answer, she turns to Clark and waits for a response. When she doesn't get one.  
  
CHLOE  
  
I can't stay here any more. I have to get out of here.  
  
She turns back to the bed and grabs the purse lying on the bed. It's Lana's purse, and Lana goes to object as Chloe quickly files through the contents, pulling out a set of keys.  
  
She shows the keys to Lana.  
  
CHLOE  
  
Are these yours?  
  
LANA  
  
::nods:: Yeah.  
  
Chloe turns and heads for the door, but Clark gets in her way.  
  
CLARK  
  
Chloe, I'm serious, you can't just leave. You have to check out, you have too.  
  
CHLOE  
  
Clark, I love you.  
  
Clark hadn't expected that.  
  
CHLOE  
  
Which is why I'm warning you to get out of my way!  
  
For such a small little thing, Chloe has a rather mortifying "look of death". It's enough to get even Clark to let his guard down. She shoves passed him.  
  
EXT. SMALLVILLE HOSPITAL - PARKING LOT  
  
Chloe heads straight for Lana's car, Clark and Lana following closely behind. Once she gets to the car, she goes to open the door but it's locked. She struggles through the keys for the right one to unlock the door, but her hysterics make it difficult and she screams in frustration.  
  
CLARK  
  
Chloe, please, come back inside.  
  
CHLOE  
  
I can't think in there! I just have to get away from that place.  
  
She finally finds the right key and unlocks the door. She gets in and turns the engine on, but Clark keeps her from shutting the door.  
  
LANA  
  
Chloe.  
  
CLARK  
  
Chloe, talk to me. I want to help.  
  
Chloe starts crying again and looks up at Clark. For a second, she finds solace in his eyes. but only for a second.  
  
CHLOE  
  
If you really want to help. you'll get away from the door.  
  
Clark, realizing there's very little he can do to stop her, relents. He steps back and Chloe closes the door and pulls away.  
  
As she drives off, Clark and Lana look on with deep concern. After a few seconds, Clark shakes his head and starts walking towards the other end of the parking lot.  
  
CLARK  
  
No.  
  
LANA  
  
Clark, where are you going?  
  
Lana follows him.  
  
CLARK  
  
I'm not going to let her go off like this. I have to bring her back to the hospital.  
  
Clark starts to cross the parking lot towards Jonathan's truck, and pulls the keys out of his jacket pocket. He moves pretty quickly, and Lana falls pretty far behind him, but she continues to follow.  
  
Clark searches through the keys as he makes it to the truck, when he hears a screeching sound, like the sound of tires spinning. Looking up, he sees Lana approaching him from the other side of the parking lot and the ever familiar car, with the three mysterious persons inside, bearing down on her.  
  
CLARK  
  
Lana!  
  
Lana turns, hearing the car as well, and screams. It's speeding incredibly fast and almost on top of her.  
  
Using his super speed, Clark darts towards her, pushing Lana clear and out of the way. She falls to the ground with a thud, but seems to be okay and turn in time to see the car slam right into Clark.  
  
The car's impressive momentum sends Clark hurling into the air, halfway across the parking lot, and slamming into and through a large SUV. Completely unphased, without a scratch on it, the car drives away and out of the parking lot.  
  
Lana, terrified by the whole ordeal, struggles to get to her feet.  
  
LANA  
  
Clark!  
  
Lana quickly runs across the parking lot and over to the completely destroyed SUV. Surveying the wreckage, Lana is shocked to see Clark stand up, and merely shake his head as if nothing happened.  
  
Clark, recognizing Lana's amazement, can only let out a frustrated grunt and runs out into the parking lot. He looks every which way for the car and the three mysterious individuals who seem to be stalking his friends one by one. Unfortunately, they're nowhere to be seen, and Clark can only exhale angrily.  
  
Lana takes a few steps towards him, rendered speechless by what she's just seen.  
  
EXT. SMALLVILLE ROADWAY - DAY  
  
Jonathan Kent's truck speeds down a local roadway, Lana in the passenger's seat and Clark at the wheel.  
  
INT. JONATHAN KENT'S TRUCK  
  
Lana stares straight ahead, a half confused and half serious expression on her face. She stays very still and sits straight up in the passenger's seat. Clark looks over at her periodically, once every couple of seconds, obviously waiting for her to say something.  
  
CLARK  
  
Are you going to say something or are you just going to stare a hole through the dashboard?  
  
Lana turns her head slightly and anchors her jaw to one side, shooting him a look out of the corner of her eye. Clark cringes and faces the road.  
  
CLARK  
  
::swallows:: Right. not funny.  
  
Clark anxiously sits through the silence, calmly praying to himself for Lana to speak up, even if it means her chewing him out. He'd give anything just to have her say something.  
  
CLARK  
  
Listen, Lana, I wanted to tell you. I really did. It's just that.  
  
She turns, hitting him three times in the arm, in rapid succession.  
  
LANA  
  
You were in the truck!  
  
Clark pulls away and rubs his arm, the reflex of pretending to feel pain kicking in. Lana folds her arms across her chest and huffs, looking straight ahead.  
  
LANA  
  
You made me feel like an idiot. I thought I was going insane. I knew you were in that truck.  
  
CLARK  
  
I know. I'm sorry. I didn't have any choice.  
  
LANA  
  
You had a choice. You could've told me the truth, but you didn't. Why didn't you tell me? I tell you everything. Don't you trust me?  
  
CLARK  
  
No.  
  
Clark quickly shakes his head in a desperate attempt to take back his response.  
  
CLARK  
  
I mean, yes, of course I trust you. It's just that.  
  
For all the time he's undoubtedly spent working this moment out in his head, it's a surprise he doesn't know what to say.  
  
LANA  
  
What did you think I was going to do, freak out or something?  
  
CLARK  
  
::shrugs:: Well, you did just hit me.  
  
LANA  
  
You deserved it.  
  
She hits him again.  
  
LANA  
  
You lied to me.  
  
CLARK  
  
I never told you I wasn't an alien.  
  
Lana shoots him another dirty look, practically swallowing her own tongue in the process.  
  
LANA  
  
You lied about being in the truck.  
  
Having expertly backed himself into a corner, Clark elects to keep his mouth shut, which is probably a good move at this point.  
  
Lana shakes her head in frustration.  
  
LANA  
  
Who else knows about this?  
  
CLARK  
  
My parents, obviously.  
  
Clark hesitates to name names, already regretting having to tell her.  
  
CLARK  
  
. and Pete.  
  
Lana practically jumps out of her seat.  
  
LANA  
  
Pete?! Pete knows?  
  
CLARK  
  
He sort of found out the same way you did.  
  
LANA  
  
So, he's been lying to me too?  
  
Clark diverts his eyes, which is enough of an answer for Lana.  
  
LANA  
  
How long has he known?  
  
CLARK  
  
A few months now.  
  
LANA  
  
::rolls eyes:: Oh.  
  
Clark looks down the road, paying close attention to an upcoming intersection. He slows the car and signals for a left turn. For a moment, Lana's frustration defuses, and she appears quite confused.  
  
LANA  
  
::confused:: Where are you going?  
  
CLARK  
  
Chloe said she was going home.  
  
As the car turns the corner, Lana turns to look back.  
  
LANA  
  
I know, but Chloe's house is down that way.  
  
CLARK  
  
::nods:: But the Torch is this way.  
  
Lana looks up at Clark, carefully inspecting the emotion that bleeds from his eyes. Instantaneously, any worry he had about Lana's reaction to learning the truth has completely disappeared from his face, replaced by a deep concern for his troubled friend.  
  
LANA  
  
You really care about her, don't you?  
  
Clark steals a glance away from the road.  
  
CLARK  
  
Of course.  
  
He looks back to the road.  
  
CLARK  
  
Besides, those three people are still out there. She may not like me for it, but I'm bringing her back to the hospital. I don't care if I have to drag her back kicking and screaming.  
  
LANA  
  
You may have too.  
  
CLARK  
  
I'll feel better when I know she's safe.  
  
LANA  
  
You mean when she's where you can protect her?  
  
Clark goes to say something but the words seems to stumble off his tongue.  
  
CLARK  
  
They've been avoiding me for a reason.  
  
Lana, sensing the hesitance in his voice.  
  
LANA  
  
Do you really think you can protect us from them?  
  
Clark looks back at her. Her fear is apparent, and her eyes beg him to shout out a confident "Yes!" And he wishes he could.  
  
EXT. SMALLVILLE HOSPITAL - DAY  
  
Lex Luthor, never one to miss an entrance, pulls into the hospital parking lot in a brand new Lamborghini. Parking the car, he steps out, staring curiously across the lot at a completely befuddled security officer surveying an oddly demolished SUV. For a second, Lex considers making his way over there, but then thinks better of it.  
  
He makes his way towards the hospital entrance.  
  
INT. SMALLVILLE HOSPITAL - TESTING ROOM  
  
Dr. Hackman carefully examines a blood sample under a microscope and angrily slams his hands down on the table. Dr. Beatty stands nearby looking over a few test results with Dr. Bryce.  
  
HACKMAN  
  
It just doesn't make any sense!  
  
Hackman leans back in his chair and shakes his head. He looks over at Beatty.  
  
HACKMAN  
  
There just doesn't seem to be any connection. He was infected with the exact same protein radiation, but his symptoms were distinctly different.  
  
BRYCE  
  
Could it have mutated?  
  
Hackman shakes his head, rejecting the suggestion almost immediately.  
  
HACKMAN  
  
If that were the case, there'd be a distinctly noticeably change in the protein itself but there isn't. It has to be something else, something in his system maybe.  
  
Hackman thinks for a moment, desperately searching the depths of his mind for a viable solution.  
  
HACKMAN  
  
We have to get another look at that kid.  
  
BRYCE  
  
Well, he is here.  
  
HACKMAN  
  
He is?  
  
BRYCE  
  
::nods:: Clark and his parents are here visiting their friend, Chloe Sullivan. She and her father were in an accident yesterday.  
  
Hackman immediately gets to his feet.  
  
HACKMAN  
  
That's right, I forgot. Come on, we have to go talk to them.  
  
Dr. Bryce nods and takes the test results from Dr. Beatty before escorting Dr. Hackman out of the testing room and down the hall. Dr. Beatty, however, remains behind and slowly walks over to the microscope with the sample of Clark's blood.  
  
Looking up from the microscope, Dr. Beatty reaches over for another sample of blood and replaces the one under the microscope with it. He carefully investigates this new sample.  
  
Looking through the microscope lens, Dr. Beatty smiles.  
  
INT. SMALLVILLE HOSPITAL - WAITING AREA  
  
Pete Ross sits in the corner of the waiting area, his chin firmly planted into his chest as he slouches in the chair. Rather depressed, he hardly notices Jonathan and Martha hurry down the hall and into Chloe's empty hospital room. They don't look happy.  
  
MARTHA  
  
Chloe?  
  
JONATHAN  
  
Clark?  
  
Finding the room empty, Martha turns back.  
  
MARTHA  
  
They're not here.  
  
Jonathan follows his wife out of the room and back out into the hall. The two of them start back where they came when they notice Pete sitting over in the waiting area.  
  
JONATHAN  
  
Pete?  
  
Pete looks up.  
  
MARTHA  
  
Pete, where's Chloe?  
  
Pete stands, meeting Jonathan and Martha as they walk towards him.  
  
PETE  
  
She left.  
  
JONATHAN  
  
What do you mean, she left?  
  
PETE  
  
She had a big fight with her father. She was really upset.  
  
MARTHA  
  
We know, we just spoke to Mr. Sullivan. He said Chloe just started screaming at him for no reason and stormed out. He's really worried.  
  
JONATHAN  
  
What do you know about this?  
  
Pete hesitates. Having already alienated his friends by opening his mouth when he probably shouldn't have, Pete chooses his words carefully.  
  
PETE  
  
I don't know. She ran out here saying something about just wanting to get out of the hospital. Clark and Lana went after her.  
  
MARTHA  
  
::confused:: Why didn't you go with them?  
  
PETE  
  
We got into a fight. Chloe's not speaking to me and I'm pretty sure Clark isn't either.  
  
MARTHA  
  
Where would she have gone?  
  
Pete can't quite get out his response before.  
  
LEX  
  
Mr. and Mrs. Kent. How're things on the front?  
  
JONATHAN  
  
Not now, Lex, we have kind of an emergency here.  
  
LEX  
  
Is there anything I can do to help?  
  
Jonathan kindly humors his unwelcome prodding.  
  
JONATHAN  
  
Chloe's run away from the hospital.  
  
LEX  
  
Do you know where too?  
  
JONATHAN  
  
That's what we're trying to find out.  
  
MARTHA  
  
We need you to think Pete. Where would she have gone? Home?  
  
PETE  
  
::shakes head:: I don't know. maybe.  
  
HACKMAN  
  
Mr. and Mrs. Kent!  
  
The party continues to grow outside Chloe's room as Dr. Bryce and Hackman make their way down the hall.  
  
HACKMAN  
  
Mr. and Mrs. Kent, we need to talk.  
  
JONATHAN  
  
I'm sorry, Doctor, but we're kind of in the middle of something here. Can it wait?  
  
HACKMAN  
  
::insistent:: No, I'm afraid it can't wait. I need to examine your son immediately.  
  
MARTHA  
  
Clark isn't here right now.  
  
BRYCE  
  
I thought he was here visiting Chloe?  
  
MARTHA  
  
::shakes head:: He.  
  
HACKMAN  
  
One way or the other, I have to examine him. It's of the utmost importance that you get him back here, now.  
  
Jonathan appears angry and steps closer to Dr. Hackman.  
  
JONATHAN  
  
::angry:: Look, Doctor, I realize how important your research is and we would like nothing better than to help you in any way we can, but you don't tell me what to do about my son.  
  
Hackman isn't a small man by any means, but Jonathan is clearly the more intimidating of the two. Hackman's ego is the only thing keeping him from backing down.  
  
JONATHAN  
  
And in case you hadn't noticed, there's a very confused and upset little girl out there who ran out of this very hospital, away from her friends and family, hysterically crying. Right now, she is our only concern and your research is just going to have to wait.  
  
BRYCE  
  
Actually, that would make our priorities one and the same.  
  
JONATHAN  
  
What?  
  
Dr. Bryce fingers through the test results she's carrying in her hands and pulls out a blood test sheet.  
  
BRYCE  
  
Our main concern, when Chloe was brought in here, was to test her for any serious internal injuries, but with the recent breakout of the irradiated proteins, it's become somewhat of a standard procedure to test all patients' blood for protein concentrations. I was planning on showing this to her father, first, but under the circumstances.  
  
She hands the sheet, regrettably, to Jonathan and Martha.  
  
BRYCE  
  
Chloe's irradiated protein concentration is one forty-three. We're going to have to begin treatment procedures immediately. or she could die.  
  
Stunned silence.  
  
EXT. SMALLVILLE HIGH SCHOOL - DAY  
  
Clark and Lana run up to the main entrance of the high school, only to find it locked.  
  
LANA  
  
It's locked.  
  
CLARK  
  
She must've gone in through the Torch window. She always leaves it open in case she needs to get inside.  
  
LANA  
  
Well, let's go.  
  
CLARK  
  
You really think she's going to let us in?  
  
LANA  
  
Well, how else are we supposed to get in?  
  
Clark smiles and places his hand on the door. A slight push later and the lock gives way, the door swinging open.  
  
Lana looks at the door with a confused look on her face. She shrugs and raises an eyebrow.  
  
LANA  
  
That's going to take some getting used too.  
  
CLARK  
  
Come on.  
  
Clark leads Lana inside.  
  
INT. SMALLVILLE HIGH SCHOOL - TORCH OFFICE  
  
Chloe Sullivan sits, remarkably calmly, over a layout page of the Torch, carefully fitting an article to the column borders. Her face is marked by dried streaks of tears as she glues down a headline to one of the articles, her hair tied back in a short stub of a ponytail. She doesn't even look up when the door to the Torch office opens, and Clark and Lana step inside.  
  
CLARK  
  
Chloe?  
  
She doesn't answer, prompting him to move closer.  
  
CLARK  
  
What are you doing?  
  
CHLOE  
  
What does it look like I'm doing, Clark? I'm laying out the paper.  
  
Clark looks over at Lana for a second, clearly concerned for his friend.  
  
CLARK  
  
Chloe, the school's been shutdown for two weeks because of the breakout.  
  
CHLOE  
  
And they're going to have an issue waiting for them when they get back. Good reporters thrive during times of crisis. This is going to be our best issue yet.  
  
Clark sits down next to her and looks at the layout page. It's the first page and has the large "Torch" banner up top.  
  
CLARK  
  
Chloe, I want you to come back to the hospital with me.  
  
CHLOE  
  
::shakes head:: Can't. I have to work on the paper. Everyone's home so I have to do everything by myself.  
  
Chloe still hasn't looked at either Lana or Clark, but picks up her head long enough to point over at a few sheets of paper on the other side of the desk.  
  
CHLOE  
  
Can you pass me that article over there, Clark?  
  
Clark obliges, doing his best not to upset her.  
  
CHLOE  
  
It's no problem. I mean that's basically what I do anyway. Everyone's so lazy around here I'm constantly fixing their mistakes before we go to press. It's almost easier just doing it myself.  
  
LANA  
  
Chloe, we're all really worried about you.  
  
CHLOE  
  
You don't have to be worried, Lana. I just needed a little time, you know? I just needed to get away and get my mind off things. I don't know what it is, but I just feel relaxed when I'm here.  
  
LANA  
  
You can't run away from your problems, Chloe.  
  
CHLOE  
  
Who's running? Can't I just be by myself for a little while?  
  
CLARK  
  
We're here to help.  
  
CHLOE  
  
Then grab a layout page, and get to work. There's plenty to do. I still haven't touched the sports section yet.  
  
Clark reaches over, placing his hands over Chloe's, stopping her.  
  
CHLOE  
  
What.? What?  
  
Clark lifts his hand to her face, making sure she looks him in the eye.  
  
CLARK  
  
I understand you're in pain, but none of this is going to fix anything. None of this is going to help. I understand what you're going through, but.  
  
CHLOE  
  
No you don't!  
  
Chloe takes her hands away from his and stands.  
  
CHLOE  
  
And don't ever pretend like you do! You can't possibly understand what I'm going through.  
  
CLARK  
  
Then, talk to me. Help me understand. I can't help you if you don't talk to me.  
  
Chloe shakes her head, looking over at Lana, then back to Clark. She desperately wants to give in, let go of the pain, and let it all flow out, but something holds her back. She looks back at Lana, then again over to Clark.  
  
CHLOE  
  
I can't. I just can't.  
  
Again, she runs. She runs passed Lana, who steps out of her way, and out of the Torch office.  
  
Clark quickly heads for the office door, but Lana stops him.  
  
LANA  
  
Wait, let her go.  
  
CLARK  
  
Why?  
  
LANA  
  
She has to think through this on her own.  
  
Clark goes to object, but Lana doesn't let him get it out.  
  
LANA  
  
You can't help her right now.  
  
Clark looks off towards the door. He doesn't want to let her go, but seems to defer to Lana's judgment.  
  
Lana, meanwhile, takes Clark's hand in hers.  
  
LANA  
  
She'll be all right.  
  
Lana, seeing Clark's pain, wraps her arms around him and hugs him.  
  
EXT. SMALLVILLE HIGH SCHOOL - DAY  
  
Chloe walks across the parking lot, towards Lana's car, never looking back. She gets in the car, starts up the engine, and pulls away as three mysterious individuals look on from a familiar dark green car across the lot.  
  
INT. SMALLVILLE HIGH SCHOOL - TORCH OFFICE  
  
Clark tidies the mess Chloe left behind, closing up the Torch office before leaving. Meanwhile, Lana walks over to Chloe's computer, moving the mouse. As she does, the idle screen fades away, revealing a picture slideshow of pictures of Chloe and Clark from the Spring Formal. Lana quickly shuts the computer down and looks back, making sure Clark didn't see them.  
  
Clark shuts the office window and locks it this time, then turns towards the door.  
  
CLARK  
  
You ready?  
  
LANA  
  
::nods:: Yeah.  
  
Lana exits the office first, then Clark. Before he leaves, he looks back to take one last look around. He shuts off the lights and then closes the door behind him.  
  
INT. SMALLVILLE HIGH SCHOOL - HALLWAY  
  
Lana and Clark walks side by side down the hall, towards the main entrance. Lana looks up at him and then wraps her arms around his, leaning her head against his side as they walk. Clark swallows, unprepared for such a move, and goes to say something when he becomes distracted by something down the hall.  
  
Quickly, Clark pulls Lana behind him and takes a defensive stance. Down the hall, the three mysterious stalkers stand in a triangle formation, with the woman up front, staring Clark down.  
  
CLARK  
  
Lana, run!  
  
LANA  
  
::scared:: Who are they?  
  
CLARK  
  
Get out of here!  
  
LANA  
  
::scared:: No! You have to protect me!  
  
The mysterious woman picks up her right arm, holds it for a second, then lets it drop. Almost immediately, the man and the brute run passed her, right for Clark and Lana.  
  
CLARK  
  
I'll hold them off, just run!  
  
Clark gives Lana a slight push and she lets go of his arm, heading the opposite way down the hall.  
  
The brute makes it to Clark first, swinging his incredible arm up and then down, trying to drive Clark to the ground. Clark is prepared this time, however, and ducks under it. The brute's massive fist narrowly misses Clark and slams into the floor, leaving a hole in the tile.  
  
Double teamed, Clark's maneuver only buys him enough time to get slammed into by the man's lead shoulder, and thrown halfway down the hall. His momentum sends him sliding across the floor and through several lockers at the other end of the hallway.  
  
Lana, who by this time has only made it to the other end of the hall herself, runs to Clark's side.  
  
LANA  
  
Clark! Are you all right?  
  
Clark struggles to get to his feet, seeing the brute and mysterious man running down the hall after him.  
  
CLARK  
  
Run!  
  
This time, he runs with Lana, and the two of them head down a set of red stairs towards the gymnasium.  
  
At the other end of the hall, the mysterious woman smiles and starts walking down the hall.  
  
INT. SMALLVILLE HIGH SCHOOL - GYMNASIUM  
  
Clark and Lana run through the gymnasium doors, and Clark quickly shuts them behind him. Using his heat vision, Clark melts the crease between the metal doors shut in hopes of buying he and Lana some extra time to escape.  
  
LANA  
  
Come on, Clark!  
  
Clark finishes welding the doors together, then heads toward the emergency exit on the other side of the gymnasium with Lana.  
  
His welding job does little to slow the three mysterious stalkers down as the mighty brute uses his awesome strength to smash the doors completely off their hinges in one swift punch. The brute and the man quickly move into the gymnasium after Clark and Lana.  
  
Lana is the first to the emergency exit, but finds the doors oddly locked as she goes to open them.  
  
LANA  
  
They're locked!  
  
Clark, not quite seeing the problem, lowers his shoulder and runs straight for the doors. Amazingly, as he slams shoulder first into them, they don't even shake. In fact, there's no give to them at all, and Clark merely bounces off of them.  
  
The mysterious woman calmly enters the gymnasium.  
  
Having been thrown back by the doors, Clark again struggles to get to his feet. He holds his shoulder, in obvious pain, and looks to the doors in amazement.  
  
LANA  
  
Clark, look out!  
  
Clark turns just in time to offer his chin as a perfect target for the man's fist. The force of the punch sends Clark up against the nearby wall, forming a massive Clark-sized indent in the wall.  
  
The brute takes the next shot, one to Clark's gut, doubling him over, but that only seems to make Clark angry. The brute pulls his two massive fist together, up over his head, ready to slam them down onto Clark's back, but Clark quickly recovers. Utilizing his super speed, Clark slams the brute in the gut several times in succession, then grabs him and launches him across the gymnasium. The brute hurtles through the air and slams head first into the basketball backboard across the gym, bringing the entire structure down from the ceiling.  
  
Clark's next target is the man. Clark's nostril flair, as they face each other. The man looks determined, but is he any match for Clark Kent?  
  
The man quickly lunges at Clark, grabbing him by his jacket, pushing Clark back into the wall. Clark grabs the man right back, and lifts him up off of the ground. The man's eyes grow wide and Clark shakes his head.  
  
CLARK  
  
I don't think so!  
  
Clark turns to his left, then quickly reverses to the right, sending the man through an entire row of folded up bleachers.  
  
Clark takes a second to catch his breath then looks for the woman, who is simply standing in the center of the gymnasium, staring at him.  
  
Lana moves behind Clark as she stares out across the gym.  
  
LANA  
  
Clark, look.  
  
At the other end of the gym, the brute amazingly gets to his feet and brushes himself off as if nothing happened. Similarly, the man also gets to his feet, slamming through the bleachers he was previously embedded in.  
  
Clark swallows hard as the man and brute regroup with the woman in the center of the gymnasium.  
  
LANA  
  
Clark, I'm scared.  
  
CLARK  
  
I'm not going to let them hurt you. Just stay behind me.  
  
Clark takes a few steps away from the door, Lana in tow, eyeing the three stalkers carefully.  
  
MYSTERIOUS WOMAN  
  
We don't want to hurt you, Clark, but we will. if it comes to that.  
  
CLARK  
  
Who are you?  
  
MYSTERIOUS WOMAN  
  
That doesn't matter. All that matters, now, is that you stay out of our way.  
  
CLARK  
  
I'm not going to let you hurt Lana.  
  
MYSTERIOUS WOMAN  
  
I'm sorry, but we don't have any choice. We have to kill her.  
  
CLARK  
  
Why?  
  
MYSTERIOUS WOMAN  
  
To protect you.  
  
CLARK  
  
Protect me?  
  
Clark doesn't believe, nor should he have any reason too.  
  
CLARK  
  
You killed Jon Westmorland.  
  
MYSTERIOUS WOMAN  
  
::nods:: Yes.  
  
CLARK  
  
And you tried to kill Chloe, and Pete, and now Lana. And you say you're trying to protect me? Protect me from what?  
  
MYSTERIOUS WOMAN  
  
From her.  
  
The mysterious woman motions to Lana.  
  
CLARK  
  
What?  
  
The mysterious woman takes one step towards Clark, then stops.  
  
MYSTERIOUS WOMAN  
  
We killed Jon Westmorland, but we didn't try to kill Chloe. and we didn't try to kill Pete.  
  
Clark, confused, listens carefully as the mysterious woman again motions towards Lana.  
  
MYSTERIOUS WOMAN  
  
She did.  
  
Clark, speechless and unsure of what to do next, turns to face Lana. She looks up at him, and he sees the same girl he's had a crush on for as long as he can remember. The Lana Lang he knows wouldn't be capable of such acts. but, for some reason, a trickle of doubt runs through his mind.  
  
He searches his heart for what to do next. 


End file.
